Gimme Something Better (28 page)
Read Gimme Something Better Online
Authors: Jack Boulware
Rachel DMR:
We respected the Fuckettes. San Francisco was their turf.
We respected the Fuckettes. San Francisco was their turf.
John Marr:
They all became closely linked with the skinheads.
They all became closely linked with the skinheads.
Marc Dagger:
The first time I met Bob Noxious he was fucking drunk and he was walking down the street, singing to himself, and bouncing off the walls. I thought he was the coolest motherfucker I ever met. He always had awesome wrist bands. He made them and sold them around the scene.
The first time I met Bob Noxious he was fucking drunk and he was walking down the street, singing to himself, and bouncing off the walls. I thought he was the coolest motherfucker I ever met. He always had awesome wrist bands. He made them and sold them around the scene.
Bill Halen:
I did the stage at the Elite Club for Public Image, and the place was just packed. People from all walks of life came out, but most of them stayed in the periphery. Because when the pit started rotating, Bob Noxious was out there raking faces with his studded armbands.
I did the stage at the Elite Club for Public Image, and the place was just packed. People from all walks of life came out, but most of them stayed in the periphery. Because when the pit started rotating, Bob Noxious was out there raking faces with his studded armbands.
Marc Dagger:
He would make spikes that were razor-sharp. Even if you just bumped against somebody, you were going to rip up their clothes. We were told to take off our gauntlets in the pit ’cause they just caused too much damage.
He would make spikes that were razor-sharp. Even if you just bumped against somebody, you were going to rip up their clothes. We were told to take off our gauntlets in the pit ’cause they just caused too much damage.
Dean Washington:
I remember leaving the Mab and this El Dorado pulled up to a red light, and Bob looked over and said, “The gorillas got a night pass,” or something like that. A night pass! Before you knew it, these five gangster goons from Big Al’s Strip Club were on our back. And we were as big as toothpicks. So the chase began, from Broadway and Montgomery all the way down to the bus depot. Then all of a sudden Bob flung himself in front of a Muni bus. The bus screeched to a halt right before it ran him dead over. When it pulled off again, we saw Bob onboard waving and smiling at us. It was just unbelievable.
I remember leaving the Mab and this El Dorado pulled up to a red light, and Bob looked over and said, “The gorillas got a night pass,” or something like that. A night pass! Before you knew it, these five gangster goons from Big Al’s Strip Club were on our back. And we were as big as toothpicks. So the chase began, from Broadway and Montgomery all the way down to the bus depot. Then all of a sudden Bob flung himself in front of a Muni bus. The bus screeched to a halt right before it ran him dead over. When it pulled off again, we saw Bob onboard waving and smiling at us. It was just unbelievable.
Bob Noxious:
I was never good at fighting. If I got in a fight I would get beat up. Unless it was fuckin’ five on one or something like that, I almost always lost. It was still fun. It was better than going to see Poison or something like that.
I was never good at fighting. If I got in a fight I would get beat up. Unless it was fuckin’ five on one or something like that, I almost always lost. It was still fun. It was better than going to see Poison or something like that.
Ian MacKaye:
I quite liked the Fuck-Ups. I thought the record was good. But they took deep offense to Minor Threat. We did a show at the Tool & Die and somebody set off four strings of firecrackers. That little tiny room was just filled with smoke and noise. I had my soda onstage, and I remember going to pick it up, and it was heavier than when I put it down ’cause one of their crew had spiked it. For them, it was a joke.
I quite liked the Fuck-Ups. I thought the record was good. But they took deep offense to Minor Threat. We did a show at the Tool & Die and somebody set off four strings of firecrackers. That little tiny room was just filled with smoke and noise. I had my soda onstage, and I remember going to pick it up, and it was heavier than when I put it down ’cause one of their crew had spiked it. For them, it was a joke.
Bill Halen:
One night Jimmy and I went to see 45 Grave at the Elite Club. And there was Bob Noxious. I hit Jimmy on the shoulder and said, “What is Bob doing up there, man? He’s up to no good.” So Dinah Cancer came out and started singing, and the next thing I knew, Bob came running across the fucking stage and she went flying out into the crowd. She was unconscious, lying on the dance floor. A couple of bouncers grabbed Bob, punched him, and kicked him out.
One night Jimmy and I went to see 45 Grave at the Elite Club. And there was Bob Noxious. I hit Jimmy on the shoulder and said, “What is Bob doing up there, man? He’s up to no good.” So Dinah Cancer came out and started singing, and the next thing I knew, Bob came running across the fucking stage and she went flying out into the crowd. She was unconscious, lying on the dance floor. A couple of bouncers grabbed Bob, punched him, and kicked him out.
Bob Noxious:
I picked her up and jumped off the stage. It was like a stage dive with the singer.
I picked her up and jumped off the stage. It was like a stage dive with the singer.
Bill Halen:
She was just lying there. A player for the band jumped out and took her in his arms. I was like, “Oh my god, Bob, what the fuck?”
She was just lying there. A player for the band jumped out and took her in his arms. I was like, “Oh my god, Bob, what the fuck?”
Bob Noxious:
I got really drunk and I just happened to go out that night. I vowed to kick anyone’s ass who came from an out-of-town band. That’s what kicked all that off.
I got really drunk and I just happened to go out that night. I vowed to kick anyone’s ass who came from an out-of-town band. That’s what kicked all that off.
If anybody came from L.A. we’d fuckin’ do something to sabotage their set. I remember seeing the Circle Jerks at the Savoy Tivoli and they were the greatest thing I’d ever heard. They just ripped, man. And bands like Agent Orange and fuckin’ Social Distortion. How am I supposed to hate those guys?
Bob Noxious with Virginia and Leslie Fuckette at the Tool & Die
Klaus Flouride:
They were so nihilistic, it was sort of absurd. They said they had it out for us and, specifically, Biafra.
They were so nihilistic, it was sort of absurd. They said they had it out for us and, specifically, Biafra.
Leslie Fuckette:
We were the real punk rockers. The Dead Kennedys were more poseurs, frankly.
We were the real punk rockers. The Dead Kennedys were more poseurs, frankly.
Ian MacKaye:
I was attacked onstage. We came back to do a show at the On Broadway in ’83, it was us, 7 Seconds, and maybe MDC. While we were playing, I was blindsided by a bald person. Two of them, as a matter of fact.
I was attacked onstage. We came back to do a show at the On Broadway in ’83, it was us, 7 Seconds, and maybe MDC. While we were playing, I was blindsided by a bald person. Two of them, as a matter of fact.
Bob Noxious:
Leslie had really short hair and the way she wore her clothes, she looked like a little guy. She walked up onstage and he started punching on her, thinking she was a guy. So I went onstage and started punching on him.
Leslie had really short hair and the way she wore her clothes, she looked like a little guy. She walked up onstage and he started punching on her, thinking she was a guy. So I went onstage and started punching on him.
Ian MacKaye:
Bob had told that woman that he would tackle Dinah Cancer of 45 Grave, and he did. And so in return, she was gonna do the same to me. But she didn’t get me off the stage. I ended up basically slugging it out with two of the Fuckettes and Bob. Onstage, in front of like 1,500 people.
Bob had told that woman that he would tackle Dinah Cancer of 45 Grave, and he did. And so in return, she was gonna do the same to me. But she didn’t get me off the stage. I ended up basically slugging it out with two of the Fuckettes and Bob. Onstage, in front of like 1,500 people.
Bob Noxious:
That, uh, got a little bit of press, but not that much.
That, uh, got a little bit of press, but not that much.
Leslie Fuckette:
Sure, the Fuck-Ups had a reputation, but so did Sick Pleasure, Verbal Abuse. So did all those guys.
Sure, the Fuck-Ups had a reputation, but so did Sick Pleasure, Verbal Abuse. So did all those guys.
Bob Noxious:
We always played with Urban Assault, Sick Pleasure, Code of Honor or Verbal Abuse. The tour we did with Verbal Abuse was probably the best one. Nicki had it all mapped out, it was a really good experience.
We always played with Urban Assault, Sick Pleasure, Code of Honor or Verbal Abuse. The tour we did with Verbal Abuse was probably the best one. Nicki had it all mapped out, it was a really good experience.
Dave Chavez:
We went on tour for four and a half months. Our driver was Bob Noxious. It was so awesome. We’d get to towns, and because of the Tim Yohannan-Bob Noxious feud that was going on in
Maximum RocknRoll
, he was more famous than we were.
We went on tour for four and a half months. Our driver was Bob Noxious. It was so awesome. We’d get to towns, and because of the Tim Yohannan-Bob Noxious feud that was going on in
Maximum RocknRoll
, he was more famous than we were.
Bob Noxious:
Tim Yohannan didn’t like us at all.
Tim Yohannan didn’t like us at all.
B:
Basically, a lot of people who listened to us at first . . . you can’t judge a book by its cover. And people, when they first heard our record, they thought, basically, that “White Boy” was a racist, anti-black song. What it is—it says right in the song—“White Boy, you’re a minority,” and that’s how we feel, you know. The San Francisco punks, which is what we’re singing right here, is there’s not too many of them and they’ve got to unite. I think that’s basically what the song says.
Basically, a lot of people who listened to us at first . . . you can’t judge a book by its cover. And people, when they first heard our record, they thought, basically, that “White Boy” was a racist, anti-black song. What it is—it says right in the song—“White Boy, you’re a minority,” and that’s how we feel, you know. The San Francisco punks, which is what we’re singing right here, is there’s not too many of them and they’ve got to unite. I think that’s basically what the song says.
MRR: It also says, “White boy gonna get a gun, white boy gonna kill.” What’s all that about?
B: That’s the anger built up deep inside everyone. Some people are gonna relate to that; some people jump right off and say, “Well, hey, you know, what is this? This is wrong to say things like that.” Well, you know, you go to war, fuck, you’re gonna have a gun. That’s just a bit of anger in all of us, I guess. Everybody lets it out.
MRR: That anger inside of you, where does it come from?
B: Mostly, just being oppressed as in a sense of, I’m not a boat person, where I’ve got to come to another country. It’s like, you take a lot of shit in your life, and you wanna do what you wanna do, and that’s the way I feel.
—“Bob Noxious of the Fuck-Ups,” Tim Yohannan,
Maximum RocknRoll
8, 1983
Maximum RocknRoll
8, 1983
Bob Noxious:
We were blacklisted. “White Boy” was a song about walking around in the Mission District, being the only white boy, and always gettin’ yelled at, spit at. Tim Yohannan said, “If it’s not a racist song, why didn’t you call it ‘Punk Boy?’ ” Well, ’cause “Punk Boy” sounds gay.
We were blacklisted. “White Boy” was a song about walking around in the Mission District, being the only white boy, and always gettin’ yelled at, spit at. Tim Yohannan said, “If it’s not a racist song, why didn’t you call it ‘Punk Boy?’ ” Well, ’cause “Punk Boy” sounds gay.
Dave Dictor:
The Biafra-Tim Yohannan world really didn’t know what it was like to live that way. They would say, “Those guys act racist,” and I’d say, “Sometimes they have a racial attitude but it’s not deep.” It was like, you get jumped by people coming back from the soup kitchen or some girl gets threatened in an alley, and something gets ingrained in you, this tough thing.
The Biafra-Tim Yohannan world really didn’t know what it was like to live that way. They would say, “Those guys act racist,” and I’d say, “Sometimes they have a racial attitude but it’s not deep.” It was like, you get jumped by people coming back from the soup kitchen or some girl gets threatened in an alley, and something gets ingrained in you, this tough thing.
Food stamps were 85 percent African-American. We were in the city fighting for that piece of cheese with these people. To them, we were cutting in line. The food stamp workers weren’t much more sympathetic—“You’re a white kid from the suburbs. Why don’t you go home to your momma and finish your college and get a real job?” We had to deal with prejudice on that level.
Bob Noxious:
I was hanging out with skinheads and people that were affiliated, but I never joined. I was always an independent.
I was hanging out with skinheads and people that were affiliated, but I never joined. I was always an independent.
Dave Chavez:
Before he got involved with any of the skinhead people, he was just Bob, a drunken, white-trash kinda guy. I think that was all a front, that whole thing.
Before he got involved with any of the skinhead people, he was just Bob, a drunken, white-trash kinda guy. I think that was all a front, that whole thing.
Bob Noxious:
I lost a lot of friends. It was such a waste. Sean died of AIDS, alone and basically homeless. He was always into shooting up and screwing all the girls. Really unsafe.
I lost a lot of friends. It was such a waste. Sean died of AIDS, alone and basically homeless. He was always into shooting up and screwing all the girls. Really unsafe.
Leslie Fuckette:
The drummer Craig had a melanoma on his neck, and three months later he was dead.
The drummer Craig had a melanoma on his neck, and three months later he was dead.
Bob Noxious:
A lot of people OD’d, just went out and never came back. It happened to me a couple of times—I’d turn blue and people would have to walk me around and throw me in the fuckin’ bathtub full of ice. I met my wife in Boulder Creek. When her mother died and left her a bunch of money—like over $100,000—we did it all. So when my mother died, I said, “Take the money. I already spent all of yours.” She bought the house, so now I can go piss on my own lawn if I want to.
A lot of people OD’d, just went out and never came back. It happened to me a couple of times—I’d turn blue and people would have to walk me around and throw me in the fuckin’ bathtub full of ice. I met my wife in Boulder Creek. When her mother died and left her a bunch of money—like over $100,000—we did it all. So when my mother died, I said, “Take the money. I already spent all of yours.” She bought the house, so now I can go piss on my own lawn if I want to.
22
High Priest(s) of Harmful Matter
Dave Dictor:
It was spring, summer of ’82, the first issue of
Maximum RocknRoll
. I was on the cover.
It was spring, summer of ’82, the first issue of
Maximum RocknRoll
. I was on the cover.
Ruth Schwartz:
Issue Zero was the one that went into the double album,
Not So Quiet on the Western Front
. It was Jeff and Tim and a few other people that published that first one. They had a blast, so they just did another one.
Issue Zero was the one that went into the double album,
Not So Quiet on the Western Front
. It was Jeff and Tim and a few other people that published that first one. They had a blast, so they just did another one.
Jello Biafra:
One thing that really impressed me about Tim was that, unlike most people in the scene, he was organized. If he decided something was going to be done, it got done. “Let’s expand the radio show into a magazine.” And it didn’t just become a magazine, it became a magazine that came out on time every month from day one, instead of a few sporadic issues for ten years. He was very good at that.
One thing that really impressed me about Tim was that, unlike most people in the scene, he was organized. If he decided something was going to be done, it got done. “Let’s expand the radio show into a magazine.” And it didn’t just become a magazine, it became a magazine that came out on time every month from day one, instead of a few sporadic issues for ten years. He was very good at that.
John Marr:
Flipside
would come out maybe once or twice a year depending on their mood.
Search & Destroy
only lasted 11 issues.
MRR
came out every month. And is still coming out.
Flipside
would come out maybe once or twice a year depending on their mood.
Search & Destroy
only lasted 11 issues.
MRR
came out every month. And is still coming out.
Jeff Bale:
20,000 circulation. Something along that line, worldwide. And it was coming out like clockwork.
20,000 circulation. Something along that line, worldwide. And it was coming out like clockwork.
Ray Farrell:
It was a natural development because Tim was getting so much coming from people. Bands that had played through that town, they’d go back to their town in Kansas or Corpus Christi or wherever it is, and they said, I wanna be able to do something here. Even if it’s a real small-time version of it.
Maximum RocknRoll
gave the impetus to a lot of bands around the country, to create their own thing going on. I thought it was great.
It was a natural development because Tim was getting so much coming from people. Bands that had played through that town, they’d go back to their town in Kansas or Corpus Christi or wherever it is, and they said, I wanna be able to do something here. Even if it’s a real small-time version of it.
Maximum RocknRoll
gave the impetus to a lot of bands around the country, to create their own thing going on. I thought it was great.
Murray Bowles:
I would meet Tim at shows and he would buy pictures from me of whatever happened a week or two weeks ago. And then use those in the magazine. I carried around old boxes of photos with me at all times. I just took whatever was recent and printed up the good stuff.
I would meet Tim at shows and he would buy pictures from me of whatever happened a week or two weeks ago. And then use those in the magazine. I carried around old boxes of photos with me at all times. I just took whatever was recent and printed up the good stuff.
Maximum RocknRoll #1 featuring Dave Dictor of MDC
Ruth Schwartz:
We wanted to change the world. We wanted to spread DIY attitudes, and we wanted the people to rise up against their oppressors and party! And do right and do better. Everything that was published in the magazine was about that. It was what punk rock was all about, makin’ noise and bein’ crazy and changing the world every day. Without letting corporate culture have its way on us.
We wanted to change the world. We wanted to spread DIY attitudes, and we wanted the people to rise up against their oppressors and party! And do right and do better. Everything that was published in the magazine was about that. It was what punk rock was all about, makin’ noise and bein’ crazy and changing the world every day. Without letting corporate culture have its way on us.
“SCENE REPORT BAY AREA”
Bands in the Bay Area continue to multiply faster than we can
keep up with, and here’s how it adds up. In San Francisco proper,
the most popular bands in the punk-H.C. scene seem to be the
DK’s, Flipper (probably much to their chagrin), Code of Honor
and MDC. All have albums out by now (as has the Lewd, whose
present status is in limbo). Up and coming bands include Bad
Posture, Fuck Ups, Domino Theory, and Free Beer (ex-Revenge).
Other newer bands these days are Juvenil Justice, 5th Column,
and Urban Assault (not the So. Lake Tahoe gang). No Alternative
reformed, War Zone mutated into Vicious Circle, with Jeff joining
remnants of the Fried Abortions to form Lennonburger. Impatient
Youth still exist, but rarely play. Arsenal is off to the U.K. to
record for Crass, and the Undead are rumored to have had stakes
driven through their hearts. The Tanks, Hellations, GOD, and
Wild Women of Borneo all have something in common. And then
there’s the Pop-o-Pies, who trucked here from New Jersey.
keep up with, and here’s how it adds up. In San Francisco proper,
the most popular bands in the punk-H.C. scene seem to be the
DK’s, Flipper (probably much to their chagrin), Code of Honor
and MDC. All have albums out by now (as has the Lewd, whose
present status is in limbo). Up and coming bands include Bad
Posture, Fuck Ups, Domino Theory, and Free Beer (ex-Revenge).
Other newer bands these days are Juvenil Justice, 5th Column,
and Urban Assault (not the So. Lake Tahoe gang). No Alternative
reformed, War Zone mutated into Vicious Circle, with Jeff joining
remnants of the Fried Abortions to form Lennonburger. Impatient
Youth still exist, but rarely play. Arsenal is off to the U.K. to
record for Crass, and the Undead are rumored to have had stakes
driven through their hearts. The Tanks, Hellations, GOD, and
Wild Women of Borneo all have something in common. And then
there’s the Pop-o-Pies, who trucked here from New Jersey.
The East Bay scene has finally come alive, as have all the suburbs. The demographics of the scene show a shift to the outlying areas, and a constant drop in the average age. We have no accurate statistics on any possible drop in I.Q. Crucifix, now veterans, are joined by Deadly Reign, Intensified Chaos, Fang, Ghost Dance, and Shut-Up. From the North hail the great Naked Lady Wrestlers (formerly the False Idols), Pariah, Karnage, Demented Youth, and UXB. And from the Eastern fringe, Social Unrest continues to hold sway, although they too hardly ever perform. They are joined now by Vengeance, Anti-Social, and everybody’s favorite most-hated band, Church Police. And the Southern flank is brought up by the Afflicted, Whipping Boy, Killjoy, and PLH. I’m sure that by the time this paper goes to press, there’ll be 10 more new ones, but next issue for them.
—Tim Yohannan,
Maximum RocknRoll
1, July 1982
Maximum RocknRoll
1, July 1982
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