Impact fanzine

Brian Jordan aka Gordo (Impact fanzine, Double Cross webzine) interview originally published in I Drink Milk fanzine, issue 3.

Impact fanzine –

Gordo: “The idea for the fanzine came up in spring 2002. Pete and I went off to college in 2000, and I ducked out of hardcore for a minute while Pete got more into it than he ever had been. Around 2002 we said it would be cool/fun to put the online stuff we did into print. The more I thought about it, I felt that that there wasn’t a real definitive zine for the “97 era” of hardcore that people talk about and that the Impact Online site covered. Maybe there didn’t need to be a definitive zine, but it was a fun project and if nothing else it gave Pete and me something to do when we were home from school for that summer.

Looking back, a lot of what I wrote in the first issue makes me cringe. It’s very overdramatic and almost emotional as well as overzealous about certain things and even just about the importance of hardcore to me. But it was a weird time in my life, as I had definitely gotten away from straight edge and hardcore for a bit, and came back to realize it still meant the world to me. I guess those realizations came out a little heavy-handed when I wish they were more understated.

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The first issue was my first ever attempt at a true print fanzine, and that thing was put together so quickly in such a frantic rush that I didn’t have time to really formulate a process a have a goal to accomplish, and I don’t think Pete did either. It was definitely more difficult than we imagined. The original idea was to do it totally cut and paste. We went to my Dad’s office and broke out scissors, glue sticks, and used the copy machine. After an hour, we had absolute garbage. We left defeated and realized it would be made on a Mac.

But the basic idea for issue #1 was take all the decent content we had, put it in a good looking classic layout, and get it printed within one month so we could sell it at Posi Numbers 2002. I just wanted it to look good and come out on time, which it barely did. Printing that thing was a major headache. We found a local place who gave a great quote for an actual PRINT job that was super pro – semi-glossy cover, bound, etc. We were psyched. We finished it early to ensure adequate time for them to print. In a nutshell, we realized this place was full of shit, and the end result was a photocopied, stapled zine, and they didn’t even get all the copies done on time. They cut us a deal on the price, but not after I threatened to take them to the cleaners (yeah, I’m tough). This place is somehow still in business, and when I am in town and drive by I still consider throwing a rock through the fuckin’ window.

When I look at issue 1 now, I really don’t like a lot of the layout and “feel” of the zine at all, and it is no fault of Pete’s as the designer – we were just rookies working on a tight time frame and putting out a pretty big zine…there is a lot of content in that fucker. It was a reality check as far as understanding how difficult doing layouts can be. I had great zine designs in my head, and I am sure Pete did as well, but actually creating them while under the gun with time proved to be very troubling.

With the second issue, I really wanted to try to do something that had the attitude of Schism with the look of Boiling Point number three, and this time I wanted the right look (as did Pete). We also worked on a tight time frame with that issue – in fact, that thing was totally done in early August 2002 after working on it for only about a month, but some major print problems again and a standard Livewire delay meant it didn’t actually drop until about January 2003. That issue I like – there are some glitches here and there and I don’t think the layouts on everything (nor the content) is perfect, but overall I will still look at it and dig it for the most part. I think The Anthrax piece is really good, just tons of sick material in those interviews. I thought that the Running Like Thieves record package was cool, even though that band was very poorly received, I really liked them. In fact, I tell ya what…I really don’t understand why that band had almost no fans. You had the major musicians from Supertouch, Andy and Biv – just sick players and song writers. Scott the bass player was great too and knew hardcore. And then Matt – I mean, yeah his voice changed a little and he didn’t do back flips on stage, but that dude is a FRONT MAN. I don’t know, I guess they were somewhere between rock and hardcore, but it bummed me out that people didn’t dig them. I saw them play some tiny shows where they just killed it.

But anyways, when the zine came out I heard nothing but positives, so I guess it went over better than the first issue. Overall, I just wanted to give some of the classic zines a nod, throw out my two cents on some things, and document some bands that I thought were worth documenting.”

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Artwork by Smitty

“Can’t Get Away From The Past” / “New Steps Down An Old Road”

Gordo: “I liked the idea of each issue having a theme. The first one, “Can’t Get Away From The Past” was basically just about how we were doing a zine in 2002 that was basically all about stuff from 1996-1998. That time period was when I absolutely lived and breathed hardcore 24 hours a day, 7 days a week. I am not kidding – I was into nothing else and did nothing else during that time. I mean, I still love hardcore today and a lot of my free time revolves around it on some level, but when I was 15 years old I cared about nothing else at all.

When I graduated high school and went off to college, I kinda thought maybe hardcore was “out of my system” in a way, like I maxed out on it. It turned out I really didn’t at all, so doing Impact was kind of me saying “you know, those bands from 5 years ago, all the shows I went to, records I bought, people I met…that shit is still awesome, how did I ever second guess it or think I would get away from it?” Like I said above though, that whole vibe just came out so heavy and over the top in the way I wrote certain things, I don’t know what the hell I was thinking. Blame it on late nights and a lot of caffeine mixed with youthful enthusiasm.

“New Steps Down An Old Road” – I think Pete may have come up with this…that was in reference to the piece on The Anthrax. We were basically revisiting a time in hardcore and a physical location in hardcore that had been gone since 1990 by talking to/interviewing people involved with that club or even just saw shows there. I also thought that was a cool phrase, just something little to add in there.”

Shining Life Press

All zines available to purchase here:
http://shininglife.bigcartel.com

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https://drive.google.com/…/1qHreUiL1aYqYhklzBMNSztMRxBl3SYUI

Contact: shininglifepress@gmail.com

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AVAILABLE NOW

SLP-1 FURY Jeremy Stith provides background and lyrical inspiration for all songs included on the Paramount LP.
8 pages
ANSI Letter 8.5″ X 11″

SLP-2 LINE OF SIGHT An interview with Austin Stemper conducted January 2018.
8 pages
ANSI Letter 8.5″ X 11″

SLP-3 SEARCH FOR PURPOSE An interview with Matt Kalbaugh conducted January 2018.
4 pages
ANSI Letter 8.5″ X 11″

SLP-4 DIZTORT Document of the 2017/2018 winter tour including Interviews with every member of the band and a tour story by roadie Morgan.
16 pages
ANSI Letter 8.5″ X 11″

SLP-5 MAMMOTH GRINDER Chris Ulsh provides 5 records that serve as the influence for the “Underworlds” LP.
1 page
ANSI Letter 8.5″ X11″

SLP-6 SECONDSIGHT An interview with Luke January 2018.
2 pages
ANSI Letter 8.5″ X 11″

SLP-7 NO TOLERANCE Chris Corry provides 5 records that serve as the influence for the “No Remorse, No Tolerance” EP.
1 page
ANSI Letter 8.5″ X11″

SLP-8 OMEGAS Spoiler provides 5 records that serve as the influence for the “Blasts of Lunacy” LP.
1 page
ANSI Letter 8.5″ X11″

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COMING SOON

SLP-9 SWIZ Two separate interviews with Jason Farrell and Shawn Brown collected with an explanation for all lyrics and songs on the “Hell yes I Cheated” LP along with memories of Fury by Chris Thompson.
24 pages
ANSI Letter 8.5″ X11″

SLP-10 ADORABLE Pete Fijalkowski provides background and lyrical inspiration for both the “Against Perfection” LP and the “Fake” LP along with most of the B-sides.
20 pages
ANSI Letter 8.5″ X 11″

SLP-11 JOY MACHINE First issue documents all Toy Machine advertisements from 1993 and 1994 along with an extensive interview with Panama Dan Zimmerman.
26 pages
ANSI Letter 8.5″ X 11″

SLP-12 BOLD Complete oral history of the final 1989 summer tour complete with never before seen photos and memories.
22 pages
ANSI Letter 8.5″ X 11″

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Coming later:

UK STRAIGHT EDGE SCENE REPORT Tom Pimlot gives background for each current straight edge band in the UK along with interviews with each band.
BATTLE OF OLYMPUS An interview with programmer and co-creator Yukio Horimoto
UNIFIED RIGHT An interview with Branden Stepp
NO TOLERANCE Interviews with each band and auxiliary member along with a detailed list of all cover songs played.
GENOCIDE PACT Tim Mullaney provides 5 records that serve as inspiration for the band and the “Order of Torment” LP.
CORNERSTONE Complete history
JUSTICE An interview with Wim “Stief” Berchmans about his time before, during, and after the band.
DAMNATION AD Ken Olden and Mike Mcternan provide background and lyrical inspiration for all songs on the “No more dreams of happy endings” LP.
PROTESTER Connor Donegan provides 5 records that serve as inspiration for the band and the upcoming LP.
YOUTH OF TODAY A collection of selected interviews arranged chronologically with extras from 1985-1989.
HIGHER POWER Jimmy provides 5 records that serve as inspiration for himself and the band.

171A, Rat Cage Records Store / A hardcore-fanatic’s guide – Part IV.

Originally released in Chiller Than Most fanzine, issue 5. (Click the picture for bigger size.)

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This innocuous construction was built in 1900, in 117 years this building tells some great history. In 1976, Hyman Lieberman was arrested for possessing 2400 pounds of mannite worth $500,000 which he was distributing to drug dealers for use in cutting heroin. Lieberman owned a store at 171 Avenue A, which he had previously owned and sold in 1966. The burnt-out abandoned building at 171 Avenue A became the epicenter of the New York City hardcore movement, it was down the block from A7.

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MDC with Jerry Williams, 1982.

It was pretty much a community center ran by a guy named Jerry Williams, perfect for hanging out, and a great meeting place too. Jerry was a key figure in the burgeoning early 80s NYHC scene, recording bands at his 171A studio and doing sound at CBGB, as well as playing guitar in Bloodclot and later on with Irate (NYC). He produced records for the Bad Brains, Token Entry, Antidote, Reagan Youth, Warzone, Cro-Mags, Murphy’s Law, and a ton more. In September 1980, Williams began renovating the interior of 171 Avenue A, which had formerly been a glass shop. By November, 171A housed after-hour parties where downtown bands like the Cooties performed. Kids used the space for everything: they put on shows, recorded bands, screened movies. Williams successfully pulled off gigs at 171A every Friday and Saturday night for a few weeks until a rival club tipped the New York Fire Department that it was selling liquor without a license. The NYFD closed it down before a New Year’s party, so it was converted to a rehearsal space. They charged $6 to $8 per hour for bands to rehearse and had a gigantic PA system.

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Dave Parsons

A year later, Jerry’s friend Dave Parsons opened his Rat Cage Records store in 171A’s cellar. There he started the label Rat Cage Records, and put out these awesome records by Beastie Boys (Polly Wog Stew EP), Agnostic Front (Victim In Pain LP) and The Young And The Useless (Real Men Don’t Floss 7″).
Rat Cage was actually the first advertiser in The Big Takeover, way back in issue #8 from December 1981. Their ad described some of their services: “T-Shirts, import records, sold & traded clothes, fanzines, badges and local shit.”

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– 171A is the place where I wrote and recorded the first Cro-Mags songs. Don’t get me wrong, Harley and John wrote many great lyrics to songs but the brutal truth is that I am the Cro-Mags’ founding member. I know who wrote what, what happened and when it happened, who did or didn’t do this and that!* (* Yes, it was irony.)
– 171A is the place where the Bad Brains recorded one of the most influential hardcore releases of all time, the legendary ROIR cassette. The Bad Brains played a gig at 171A in May 1981, Jerry Williams recorded it on reel-to-reel tape. The band really liked the sound and returned to 171A, the Bad Brains spent the rest of 1981 in the East Village, recording with Jerry. 12 of the 15 tracks on the album came from these sessions, while “Jah Calling”, “Pay to Cum” and “I Luv I Jah”, were from Williams’ live recording in May.

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– 171A is the place where Jerry Williams screened music documentaries (“Shellshock Rock” / “Self Conscious Over You” documentary movies about the evolution of the punk scene in Belfast) in the evenings, and between the two flicks the Stimulators performed. Harley Flanagan was 14 old at the time, he was playing drums for the Stimulators.
– 171A is the place where Harley Flanagan used to practice when he was trying to get the Cro-Mags together. He jammed there with the Bad Brains, who lived there at the time. When Harley was putting together the Cro-Mags, with the original lineup was him on bass, ex-Mad drummer Dave Hann, and a pre-Even Worse Dave Stein on guitar, and Louie Rivera (Antidote) was singing with them until Eric Casanova stepped into the picture.
– 171A is the place where Circle Jerks, Angry Samoans, The Subhumans all jammed and recorded.
– 171A is the place where Beastie Boys played their first gig, they opened up for the Bad Brains.
– There was an infamous night when DOA were playing at A7 and then they went over to 171A and did their set and then they went back over to A7 and did another set and the crowd just followed them back and forth.
– 171A is the place where Williams formed a band comprised of Bad Brains roadies who called themselves Bloodclot. They did perform many live gigs opening for the Bad Brains. Although Bloodclot never released an album, they only recorded a demo at 171A.
– 171A is the place where the Beastie Boys recorded the “Polly Wog Stew” EP with producer Scott Jarvis. Utilizing a four-track and an Echo-plex, they were kicked out of the studio after two days so they mixed it in Jarvis’s apartment.

 

Shining Life fanzine

SHINING LIFE – Numbers 1, 2, 3, 5 & 6. Available in their webstore at http://advancedperspective.bigcartel.com/product/shining-life.

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SL-1 / Jeremy explains the meaning and inspiration behind all songs on the paramount album. 8 pages.

SL-2 LINE OF SIGHT / An interview with Austin Stemper. 8 pages.

SL-3 SEARCH FOR PURPOSE / An interview with Matt Kalbaugh. 4 pages.

SL-5 RESULT OF CHOICE / An interview with Jules Strifan. 2 pages.

SL-6 Secondsight / An interview with Luke. 2 pages