Tag Archives: tokenentry

Outburst photos / Joe Songco

Originally published in Chiller Than Most fanzine, issue 6 (2018).

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CTM – 01. You played your first show with Abombanation, Krakdown, Token Entry at Right Track Inn in late 1987. As far as I know it was an amazing show where Ray Parada was covered in blood from busting his nose open during Outburst set. What are your memories of the first Outburst show?

Joe Songco – The Right Track Inn was this cool little club in Merrick, Long Island. That’s our original bassist Chris Bruno in that shot. I think it may have been ABombANation’s first show too. Rayco and Matt were also from around the way in Astoria and they were regular visitors to our south side of Astoria Park from the Ditmars Boulevard side. I sure do remember Rayco busting his nose open. Personally, it was awesome that he was dancing for us and fortunately he was okay to go up and do ABombANation’s set! I remember loving their melodic sound. I believe it was Jay Krakdown who got us on that bill. They were always so sick with their live show. I remember introducing myself to their drummer John Soldo because his cousin Christina was my classmate and good friend at St. John’s Prep. Along with Leeway, Kraut & Murphy’s Law, Token Entry were one of the established neighborhood bands so it was great to be playing with them. I remember being really nervous doing the long Johnny Feedback snare roll in “All Twisted” at the end of our set because Ernie was watching from the side. I grew up watching all those great Astoria drummers and I didn’t want to botch it!

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CTM – 02. Outburst with Walter Schreifels on bass

Joe Songco – That was our first CBGB gig in December ’87. Breakdown was supposed to headline but had to cancel so we played with American Standard, Department of Corruption and Atrocity. Our bassist Chris had a family trip he was unable to get out of. Chris and Brian were friends with all the Jackson Heights guys in Gorilla Biscuits & Token Entry. Luckily, Walter offered to fill in on bass and I remember he learned the songs really quickly. Aside from GB, he’d already played for Warzone & Youth of Today so his chops were really good. I’m so glad someone snapped that picture to evidence the time Walter played in Outburst!

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CTM – 03. What’s the story of this Outburst photo? Where and when did you take this photo?

Joe Songco – This was taken on the campus of Columbia University in Manhattan. Our roadie and former high school classmate Julio (to my right in the black leather jacket) had gone to Columbia after high school and he invited us one night to come party at his school.

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CTM – 04. Basketball…

Joe Songco – This was taken in Long Island City, which is a neighborhood on one side of the Queensboro Bridge (on the other side is the famous hip hop neighborhood Queensbridge Projects, home of Nas, Mobb Deep, Roxanne Shante, Marley Marl, etc). Jay and his brother Al were big time basketball fans like me and we often got together to hit the courts. On this day, Brian and one of our other roadies Carlos joined us and we played all afternoon. What’s really cool about this shot is I’m wearing the original Run DMC & Beastie Boys “Together Forever” tour shirt. Eminem also wears this shirt in his video for “Berzerk”.

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CTM – 05. CBGB…

Joe Songco – I’m pretty sure this CBGB show was with Breakdown in ’88. That’s Eric Fink from Side By Side/Uppercut about to launch himself into the crowd off of Brian’s back. This photo was taken by the legendary BJ Papas. I remember during our cover of Kraut’s “All Twisted”, Gavin from Absolution/Burn took the mic and sang the whole second verse.

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CTM – 06. Remembering Elkin

Joe Songco – Elkin just roadied the NYC area Outburst shows. Just a few blocks away from CBGB was St. Mark’s Pizza. We’d usually go there after shows or if we had some time in between bands. “Gotta get that extra cheese slice!” he would say, every time. He loved how they would put a handful of mozzarella on top of any slice with a topping before it went into the oven. That’s all he ever needed as payment for his services. Our roadie, my homie.

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Freddy Alva interview (Abombanation/New Breed compilation/Some Records etc.)

Freddy Alva interview originally published in Chiller Than Most fanzine, issue 3 (2014).

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CTM – Can you give us a lesson about the history of Abombanation? Do you have any info how did Abombanation form originally? What was their lineup? As far as I know Ernie Parada (Token Entry) played drums for them only on the demo and at one or two gigs at most. In Your Face Steve played with the band after the demo until the end and actually sang during one show after Ray Parada.
Freddy – I just asked Ray on the origins of the band & he said that the original members were himself on vocals, Matt O’Brien on guitar, Vadim on bass & Larry “Love” Kaplan on drums. He can’t remember exactly when they formed but I’m guessing it’s early 1987. He said Vadim was then replaced by Nick X& Ernie Parada replaced Larry on drums when Larry joined Breakdown in 1988.

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CTM – Are there any particular shows that stuck in your memory?
Freddy – I only saw A-Bomb-A-Nation once at CBGB’s& was lucky to sit in for a practice at Monkey Hill studios in Queens. The CBGB’s show was memorable because a lot of HC kids from Queens showed up to support a band from our neighborhood. I knew Vadim through Chris Wynne from In Effect fanzine & it was really cool seeing a lot of friends on the audience. The band was awesome, I’ve seen a couple of cool pics from that show, seem to remember someone filming it, hope that video pops up someday.

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CTM – The Abombanation demo, to me, sounds much more like a typical NYHC band of the time. We can hear standard fast parts and dance parts, but also a surprisingly distinct sense of melody. What do you think of the band’s sound? How did that differ from previous bands and attempts?
Freddy – I agree that their sound was very different from other NYHC bands at the time. Besides the other, band members, musical skills. I will credit singer Ray Parada for their atypical sound. Ray was an original class of 1982 HC scenester: he’d gone to the 1st shows at the legendary A7 & had also played drums for the early NYHC band Major Conflict as well as in the unrecorded Rat Patrol w/Adam Mucci from Agnostic Front & Sacrilege NY. Major Conflict had a period where they played a more melodic Stiff Little Fingers influenced sound & I think that Ray carried on that sense of melody to A-Bomb-A-Nation. Being around since the 1st wave of HC allowed him to draw from older influences of melodic HC bands like the Posh Boy Southern California sound or 7 Seconds as opposed to a kid that just got into HC in ’87 & all they knew was stuff like Youth Of Today or Breakdown.

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CTM – Their lyrics were not really typical hardcore lyrics. I really like their meaningful lyrics, what do you think about them?
Freddy – I think the lyrics are really intelligent & well thought out. I will attribute that to Ray being older than us. When I first met him, I’d just finished High School & He was already out of college & working in the “real world”. I think that his life experience was a vital part of the lyrics, rising above more simplistic topics like you ‘stabbed me in the back’ or other like-minded fare of the day.

CTM – I heard that there is an unreleased Abombanation album that they recorded but never released. Have you ever heard these songs? Would you mind writing about this unreleased LP?
Freddy – I’ve never heard the unreleased lp& Ray said that he only heard about a couple of minutes of, he wasn’t too interested because it was after he quit the band. I would love to see the demos & maybe this lp to be released some day.

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CTM – Outburst played their first show with Abombanation at Right Track Inn in late 1987. As far as I know it was an amazing show where Ray Parada was covered in blood from busting his nose open during Outburst set. Were you on this show?
Freddy – Unfortunately I was not at this show, actually only made it out to the Right Track Inn only one time. I asked Ray about the blood on stage & he replied that was from catching an elbow to the nose during the opening band, seems he couldn’t get the bleeding under control when they went on. I’m sure it was quite a sight!

CTM – What is your opinion of the band name Abombanation? I saw a few flyers where it was mispelled. Which band name do you like the most off of New Breed? Mine is Beyond. I read that they chose the name because it represents the way they feel about drugs and any other barriers that weaken your life. To be beyond something is to overcome it, or to surpass it. Awesome band name!
Freddy – Yeah, that was an easy name for people to misspell! I love it though, really conveys a lot. I have to say ‘Life’s Blood’ is my favorite band name on the comp. It is such a strong name that, to me, really illustrates what Hardcore is & to an extension; anything you feel passionate about that inspires the very core of your being & affects your life for the long run. A close second is ‘Raw Deal’. That really captures a situation that happens to the best of us & the band’s music is a release from the emotions that go along with said predicament. I was so bummed when they were forced to change their name to Killing Time due to legal reasons. I still never call them by the KT name!

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CTM – Crucial Chaos on WNYU every Thursday night. An awesome radio show a lot of you in NYC grew up listening to. As I imagine it in the late ’80s you would sit in your room and use your boombox to record all the NYHC bands appearing on Crucial Chaos, live sets and interviews. I really love listening to live sets and radio sets. What do you think, was it any different playing a show and playing a live set on the radio? How should we imagine a WNYU or WMFU set?
Freddy – Listening to Crucial Chaos every Thursday night was such a looked forward to experience. DJ Spermicide had such a cool husky voice. A lot of kids definitely had a crush on her just based on her voice & radio personality. Her sidekick on air was Johnny Stiff, an old school Punk Rock dude who’d been around since the beginning & booked some legendary shows. He was famous for being cranky to people calling in to the show. That’s the thing, it was an epicenter of info for the scene. I would tape the whole show to catch up on new releases, get turned on to old classics, listen for show announcements, ticket giveaways, band interviews; not to mention the live sets that we all anxiously waited for & hit the “record” button.

CTM – “Everybody mosh it up Break everything in your house!” What are your favourite radio sets and why?
Freddy – My favorite NYU sets are by bands who I think it’s their best recorded stuff. For example, I’m not a huge Judge fan but I think their NYU is awesome, best thing I’ve heard by them. Same goes for Side By Side, their studio stuff is ok, but the live set is smoking. Others favorites that come to my mind is being @the studio when Fit Of Anger played & all our friends were there, that was really cool. The interviews are classic too, like YDL & Warzone, there are some choice quotes in there.

CTM – I read about an awesome place on 14th street in NYC called Giant Studios. Many well-known NYHC bands used to rehearse there including Krakdown, Warzone, Side By Side, Breakdown, Death Before Dishonor etc. There were rooms A through Z so you could just walk in and hang out and listen to each band rehearse. What are your memories of Giant Studios?
Freddy – Giant studios was a who’s who of NYHC bands rehearsing there at any given time. It was a great place to catch band members if you wanted to interview them. I remember doing a couple of interviews for my New Breed fanzine there. I actually rehearsed with a band called Last Cause there in late 1988 & right next to us Underdog was rehearsing & we saw Sick Of it All coming in as we walked out. I remember going to see my friends in Our Gang rehearse & it would become a live show with like 15-20 kids packed in the rehearsal room doing “stage dives”, moshing& generally goofing around. Great times all around.

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CTM – I heard a funny story about the singer of Uppercut. Steve Uppercut had no idea they were on this compilation until 2006 when he saw it somewhere on the internet. Do you have any funny stories about the New Breed comp.?
Freddy – That’s funny Steve never knew they were on the comp. I think he drifted out of the scene, like a lot if us did, by the 90’s. I dealt mostly with Robert Sefcik, the Uppercut drummer, as far as getting the Uppercut tracks & artwork for the comp. I see Steve all the time now, I do Acupuncture on him & go see his awesome band Kings Destroy that also features Robert on drums.

CTM – Could you talk about the concept of making the cover for New Breed? The picture looks like the Minor Threat EP but taken from the side.
Freddy – The picture of Chaka sitting on the steps on 8th st near the old Venus Records location is meant to be a homage to Minor Threat’s Lp cover. I took a side view of him, the better to show off the Crucifix patch Chaka had on his right shoulder as well as the Air Jordan sneakers he was sporting. That was basically the only idea we had, took a camera one day after shopping for records & went for it. It’s cool that a lot of people dig it, there’s also a tag on the door above by “Shoe”, that’s Rich from All For One & one of my best friends, so that was great that it turned out that way too. I always considered it as our urban tribute to an iconic HC image.

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CTM – Some Records was an awesome meetig place for hardcore kids, bands, zine editors and people that would help launch that second wave of NYHC in ’86. Would you mind sharing some memories about Some Records?
Freddy – Some Records was the catalyst for me getting really involved in the scene, otherwise I would have just been another passive spectator rather than an active participant. I saw a flyer on a lamppost in 1986 that said “American HC” & gave the store’s location. I immediately went down there & bought my first fanzines & demos. This inspired me to do my own fanzine called FTW. The first interview I ever did for my zine was with Ray Cappo right outside the store. I met Chaka through hanging out there. The inspiration for doing the New Breed comp comes from picking up the legendary Guillotine benefit comp tape there & wanting to do something along the same lines.
Some of my favorite memories:
– Duane unwrapping a brand new copy of the Straight Ahead 12″ & playing it nonstop like 10 times in a row.
– Waiting anxiously for the delivery guy to bring YOT’slp& being the 1st one to buy a blue vinyl copy.
– Having a listening party in the store to AF’s “Liberty & Justice” lp w/Nick YDL, John Life’s Blood, Tommy Carroll, Side By Side guys & Alleyway crew dudes.
There are too many good memories of that place. It really was the epicenter & communication hub of the scene, amazing in itself because the place was only about 300 Sq feet & located down inside a dusty basement but in my memory it is NYHC’s grand palace.

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CTM – I know that you are working on a documentary about New Breed and the bands on it. Any updates?
Freddy – The latest on the New Breed documentary is that we finally got a new video editor, gone through two already. This time it’s Sean Murphy, he sang for Collapse on the comp, so he definitely “gets it”. We just have to figure out a good time for all of us to sit down & get this wrapped up. Not so easy these days with families, jobs & other necessities of daily life. It will get done, there’s no timetable, just taking it one day at a time. Thanks for the interest, you will definitely hear more about it as it comes out. It was great reminiscing about these old days that still mean a lot to me. I hope I was able to shed some light on the A-Bomb-A-Nation story, thanks again!

Show review: Supertouch, Token Entry, Murphy’s Law, Bad Brains at the Ritz

The New York Times:
“Bad Brains, a reggae and hardcore rock group, is to appear tonight at the Ritz, 11th Street between Third and Fourth Avenues (254-2800). Tickets are $13.50; the show is at 12:30.”

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Murphy’s Law at the Ritz, NYC 5.27.1988. Photo by BJ Papas.

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Show review by Yes Zista fanzine (issue one)

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Show review by In Effect fanzine (issue one)

The Pyramid Club / A hardcore-fanatic’s guide – Part V.

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

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In the late 80s New York was still dangerous and not yet gentrified. East of Avenue A was still a wasteland. The Pyramid Club was (and still is) a nightclub in the East Village, located at 101 Avenue A in Manhattan. The institution named for a pyramid motif in the building’s original tiling, opened in 1979. What made this club unique was that the inclusivity across all cultural lines, mixing disco and hardcore/punk, pop culture and high art, straight and gay. The Pyramid Club shows were organized by many members of the NYC hardcore scene. It was the first time in NYC during this era that the bands actually made up the bills. The shows ran on a semi regular basis from 1987-1989.

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Alex Brown, Sammy Siegler, Chris Burr, and Dylan Schreifels in front of the Pyramid Club

You can check out a video about what the place was like between 1983 and 1988 on youtube: “Drag Queens, Skinheads, Artists and Some Girls: the Pyramid Club of the 1980s.” In this video Raybeez and Jimmy Gestapo attempted to describe what made the Pyramid special (5:51)!

– Pyramid matinees were some of the best hardcore shows, Absolution, Warzone, Side By Side, Youth of Today, Underdog, Collapse, Sick Of It All, Token Entry, Hogan’s Heroes, Judge, Gorilla Biscuits, Krakdown, Life’s Blood, Killing Time, American Standard, Project X, Under Pressure, Uppercut, Our Gang had a couple of very memorable gigs there.
– Security included Jimmy Gestapo, Raybeez and Richie Birkenhead, while doorman Bernard Crawford kept out the yuppies and junkies.

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Raybeez and Jimmy Gestapo

– The Pyramid Club is the place where Ray Cappo and Raybeez were booking shows together, most of these shows were Saturday matinees. The first matinee gig was a benefit show for Some Records. “Starting April 11th at the Pyramid Club, 101 Avenue A we’re gonna have hardcore matinees between 2:00 and 5:30 every other Saturday, starting April 11 so you gotta check it out! The first show is with Sick Of It All and Token Entry and you know, we’re headlining, word up! Check out the Village Voice!” – Warzone interview on WNYU’s Crucial Chaos radio show.

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– The Pyramid Club is the place where Sean Penn and Madonna got into a heated public argument in 1986. A fight erupted into violence as an obviously inebriated Penn shoved his wife up against a wall, then carried their shouting match out into the street.
– The Pyramid Club is the place where Nirvana and Red Hot Chili Peppers played their first New York City concerts.
– The Pyramid Club is the place where Into Another performed their first show.

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– The Pyramid Club is the place where Warzone cameout with a fog machine, and they used so much dry ice that you couldn’t see your hand in front of your face in the pit. Warzone was playing and the smoke machine went off while Ray Cappo was on stage about to do a stage dive, it burned his leg.
– The Pyramid Club is the place where Warzone played a show with a go-go dancer on stage, which was very likely an influence from the “Licensed To Ill” era Beastie Boys.
– The Pyramid Club is the place where Djinji Brown (Absolution) broke Jules Masse’s (Side By Side, Alone In A Crowd) nose during a show.
– The Pyramid Club is the place where the really underrated Altercation played a gig with Death Before Dishonor on May 23, 1987. Shortly after that Jay and Paul left Altercation to join Warzone so the band broke up.

Interview with DJ Spermicide – Part II.

DJ Spermicide (Marlene Goldman) interview originally released in Chiller Than Most fanzine, issue 4. (You can read the first part of the interview here: Part I.)

CTM – Please tell me a bit about the early history of Crucial Chaos. When did you join the station? How did you start your radio program? How was the first broadcast? Who was the first guest/band in the studio?

DJ Spermicide – I was a journalism major and went up to the newspaper to see about joining. It looked dreadfully boring and across the hall was the radio station, which looked a lot more fun, so I decided to pursue that instead. When I joined the radio station there was nothing in the way of a punk or hardcore show. I joined the radio station as a volunteer in 1985. To get a time slot back then you had to start on the AM station, which was only broadcast to the NYU dorms. You had to make tapes of yourself as air checks for the program director to review. I wanted to host the New Afternoon Show, but it was faster to get on FM if you had a specialty show. I proposed Crucial Chaos and since there was a void at the station, I was given the Thursday night time slot for the show. My first broadcast was hectic and nerve wracking, but it was a lot of fun. Murphy’s Law came up to the show and brought pizza and beer and their then new album release, which we had played on the New Afternoon Show, as well. Green vinyl, I remember, so it was hard to see where to cue up the songs.

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CTM – Why did you choose this name for the radio program?

DJ Spermicide – Back then the word Chaos was being used a lot by bands as was the word Crucial. I thought the two words together would perfectly describe the idea of the show—crucial to a music scene that didn’t have a radio voice in NYC at the time and chaos because I knew playing one-minute or shorter songs would be just that.

CTM – Freddy Alva told me that your sidekick on air was Johnny Stiff, an old school Punk Rock dude who’d been around since the beginning and booked some legendary shows. He was famous for being cranky to people calling in to the show. Please tell me about him!

DJ Spermicide – Stiff! He was just as you are describing, a cranky old-school punk rock guy who had booked shows and drove vans for bands and had tons of contacts in the scene. When I first started Chaos I went down to the CBs hardcore matinee every Sunday with promotional flyers about who was going to be on the air the next week and when the show was, etc… Stiff had heard about the show and asked if I needed any help answering phones, putting away records and all that. I really did need tons of help on those fronts and once he started getting involved he was key in getting a lot of the bands to come up for interviews and live sets. He was also good at helping keep order in the studio when there were a dozen kids or whatever cramming in the tiny space.

CTM – As far as I know it was an important concept that you had a kind of anti-mainstream, outsider mentality, the “if you’ve heard it somewhere else, you won’t hear it here” stance that keeps noncommercial stations around. What was your approach to putting together a setlist, a radio show? How did you choose the bands that are playing?

DJ Spermicide – I really wanted it to be a mix of old-school punk, which I still love, and the new hardcore music, not just New York, but of course helping local bands as much as possible. I used to get to the studio early and pull out which records I wanted to play, along with some local cassettes. Those were always a challenge since the quality was often pretty poor. I would go to Venus Records day of my show and Some Records on a regular basis and try to find what was brand new, plus Stiff would sometimes come up with new releases to play. But I really wanted to keep that generational component, mixing 70s and 80s punk in with the hardcore music. I tried to vary the bands played so it wasn’t the same show every week. We also took a lot of requests from listeners. Phones were always ringing off the hook.

CTM – I read somewhere that the main DJ area was pretty typical looking for a college radio station, and a large window separated that from the small room where the bands played. How should we imagine the wall of the studio? Posters, tags, stickers, graffiti on the wall?

DJ Spermicide – The studio was used for all the shows, so there were stickers and posters, but not just punk and hardcore. No graffiti on the walls since it was on university property. The radio station office had file cabinets covered in stickers. Both the studio and room for live bands were pretty small. I had to put people’s names on a sign-in list with the security guard downstairs. There were always extra guests that needed to be signed in. Fortunately the guard was really nice and sometimes asleep.

CTM – What was your unique calling card – whether that’s a catchphrase, intro, or style?

DJ Spermicide – Hmmmm. I suppose just the name I used on the show, Spermicide, with all variations of nicknames. I don’t know that I had a style except trying to keep order amidst the chaos.

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CTM – Some Records was one of the catalyst for the hardcore movement too. This record store (operated by Duane) was a great place to hang out, it was a great meeting place for hardcore bands and folks, fanzine editors and people that would help launch that second wave of New York hardcore. Duane was like a big brother to every hardcore kid who stepped into his store, kids heard every record before it came out. If I am not mistaken Some Records was one of the sponsors of Crucial Chaos for a while. Could you talk about this, and would you mind sharing some memories about Some Records?

DJ Spermicide – Some Records was one of the sponsors. There was always a small scene down at the store though I didn’t hang out there as much as some of the kids. I got a lot of 7-inch records there from smaller, local bands for the show.

CTM – It was really interesting that Outburst put the word out that they were looking for a bass player on Crucial Chaos. Turns out Mike Welles just happened to be home that night listening to Crucial Chaos make the announcement and he responded. They rehearsed a handful of songs at his place one night, then they tore up his kitchen and he was pretty much in the band after that. Would you mind sharing some funny stories about the radio sessions? Please tell me some backstage secrets, funny stories about the radio sessions!
There are some shows that are truly iconic. 01 The Warzone interview was really funny with the hyper active Raybeez and ‘zone guys. Interviewed the same day as Youth Of Today, both bands were promoting records they were about to release: “Break Down The Walls” for Youth Of Today and the “Lower East Side Crew” EP for Warzone. What about some of the personalities or characters in the scene at the time, like Raybeez? What are your memories of this interview? Do you still have that orange Lower East Side crew tee?

DJ Spermicide – That was definitely a memorable night. I didn’t think Warzone was going to make it on time, but they did. Ray Cappo was pretty easy going compared to a lot of the personalities I had on Chaos. Raybeez was always a great person to be around, so much positive energy. Not sure I have that t-shirt, but sadly did find recently the Raybeez memorial show t-shirt from CBs. I happened to be in town that weekend for that after I had moved away. The biggest challenge for interviews with some of the big talkers was keeping them on track talking about their music and getting to play tracks without running out of time.

CTM – 02 Supertouch played live on St. Patricks Day (03.17.1988.), the same day Murphy’s Law did a radioset. This live set has inspired an entire genre of bands playing hardcore today. Some of the tracks like “Strugglin’ To Communicate” and “A Death In the Family” were never recorded outside of the WNYU Studio. Any memories from this session?

DJ Spermicide – I do remember it sounding great. I didn’t realize that was the only time those were recorded. There was a record label at one point interested in putting out some of the live sets on vinyl and calling it the Sperm Sessions. I gave them the material, but it never happened, unfortunately. Looks like a lot of the live sets are up on Youtube or other sites, which is great.

CTM – 03 What are your memories of the Straight Ahead interview? They were known as a straight edge band, but the members labeled their band as a “unity band” in your Crucial Chaos interview. How did you interpret this response?

DJ Spermicide – I knew those guys pretty well. At the time there were so many micro-labels dividing the hardcore scene—skinhead, straight edge, peace punks. I think some of the divisions were causing schism in the scene, so the term unity band was in my opinion meant to distance Straight Ahead from all that. I also think some bands were taking the labels too seriously and all the rigid restrictions implied by being straight edge would be hard to uphold.

CTM – 04 One famous radio event was the Born Against versus Sick Of It All debate in 1990. How did/do you feel about the bands releasing records on larger labels? What are your memories about this debate?

DJ Spermicide – Ahhhh. The Debate. Yes, I remember that well. I remember it was more like being a referee than an interviewer, especially with the size of the studio and everyone crammed in there. I think I was on the other side of the glass if I remember correctly. I really didn’t really have a problem with bands signing to larger labels if the music stayed the same, which was the case with Sick of It All. Back then there was a fine line of bands just trying to get more exposure and bands selling out. Look how that all turned out. Sick of It All is still touring like crazy and bringing the NYHC scene to the world. I just saw their 30th anniversary show. They somehow found a way to make the music their life’s work without having to tone down their sound or make it more generic. Seems like such an ancient problem. Now the only way bands make money is from touring and selling their merch at shows.

CTM – What was your toughest interview and why? What were your funniest interviews and why?

DJ Spermicide – The toughest ones were always with the young bands just coming out who sometimes didn’t have much to say. I would mostly try to promote their shows in that case. Funniest, probably some of the characters like Murphy’s Law, Raybeez, oh and the Nihilistics who I was just trying to make sure didn’t curse on-air the whole interview. I had GBH up live once. They were pretty hilarious to be around.

CTM – I feel that most of your interviews are classics too, there are some choice quotes in there. Did you listen to your own shows after they aired? “White power, black power, yellow power….take a shower!”, “Everybody mosh it up, break everything in your house!”, “Public Enemy is just as bad as Skrewdriver.” What are some of your favourites?

DJ Spermicide – Sometimes I listened to the shows. Been so long I would have to listen back.

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CTM – Bands were incredibly exciting to play on the radio. Why didn’t these bands like Youth Of Today (only interview), BOLD, Raw Deal, Straight Ahead (only interview) etc. play a live set in the studio?

DJ Spermicide – I’m sure we asked at least some of those bands to play but it wasn’t always easy to coordinate. Also, at the beginning, we weren’t really set up that well for the live sets. But once that became a popular part of the show our amazing sound engineer got the sets to sound great.

CTM – Why did you quit WNYU? I heard that you went and lived in Australia…

DJ Spermicide – A few reasons. Yes, I left to live in Australia for a year, but also there was a rule that to be on the radio station you had to be enrolled as a student. I had been in grad school, but my time was running out and it was expensive to keep registering for even a credit or two just to stay at the station. I hosted a few guest shows after I got back from Australia in ’91 and ’92 but moved to San Francisco in 1993. The first time I ever spoke on KUSF, which was just to announce some ticket giveaway at around midnight on someone else’s show, someone called and recognized my voice—said he had taped my interview with the Adolescents. Then I kept having New York transplants calling to ask if it was me and I ended up using the name Spermicide since there were a lot of listeners who already knew me from my WNYU days.