“All that class privilege stuff, that’s behind me now…”

Anyway, we had a little correspondence with Pat Thielges, co-creator of this funny-cuz-it’s-true gem. He told us that this is the first video that he and his daughter, Leah Maldonado, have made together, but that she is an accomplished YouTube-ist, having made a bunch of silly videos including this one in which Leah plays him! She also plays in the band Dr. Loomis, who totally shred.

Pat says that “Shit Record Nerds Say” is “inspired by almost three decades of rubbing elbows with some of the nerdiest and at the same time coolest people on earth… punk record collectors!!” Clearly he is a record nerd himself, and not out to disrespect anyone, just to poke fun at the more “backstabbing, moneygrubbing” aspects of the collector nerd scene. “Basically, I think punks need to have more of a sense of humor, cos punk is for the most part pretty humorous…and humorless.”

Some nerd facts: Pat is wearing two pairs of tighty whiteys, “so I am not technically in my undies.” The video was shot in Portland, Oregon, at Crossroads Records, Green Noise, and Everyday Music on Sandy. Pat and Leah promise to put out a “part two” soon!

This film is a work in progress, and if you want to see this project come to fruition there are a few things you can do to help. Donate money at their Kickstarter page and get some killer swag. If you happen to live in California and have your own Outhouse stories and experiences to share, filmmaker Brad Norman will be conducting interviews in L.A. Jan. 17th-21st and in S.F./Oakland Jan. 22nd-25th. You can contact him through the Outhouse The Film website. (The website itself is worthy of being our Website of the Week with its amazing — and growing — flyer and photo collection from throughout the Outhouse’s lifespan.) And of course, like anyone with their shit together these days they’ve got a Facebook page and a YouTube channel… We can’t wait to see the finished product!

Outhouse crowd (photo by Noah Fleischman)

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“Through this humbly produced documentary, which consists of interviews, TV show archival footage, and material donated by the protagonists, we try to bring to light the cultural, political and social values of punk, hardcore, and of the people that were involved in building a DIY movement that’s independent of any state institution.”
—José Saravia

The documentary, Una Parte was created by Jose Saravia with the collaboration of Benjamin Herrera and Fito Pereira. It is an extensive compilation of interviews, testimonies, and stories of punks from the province of San Miguel de Tucumán, located northwest of Argentina. In the documentary, Saravia presents a great variety of pictures and footage from shows, and images of zine covers from Tucumán and the rest of Argentina. This “mega proto-documentary” is divided in 4 chapters. The first chapter talks about the punk movement in Tucumán in the ’80s, the second and third ones discuss the movement in the ’90s, and the fourth one focuses on the fanzine movement.

The punk movement in Tucumán emerged in the midst of the transition from a dictatorial military regime that lasted from 1976-1983 to democracy. These social and political changes marked the younger population that emerged out of that dark era with the hopes of manifest their ideas and express themselves freely. Tucuman punk, as a musical, sociocultural and political movement emerged as that, longed for, means for expression among the youth with “punk” and “rebellious” attitude, overcoming prejudices, stereotypes, and social stigmatization from mainstream society. “In rock music I found a space to say things,” tells Coqi Mendez, lead singer of the rock band Euzkadi formed in 1991, referring to having found in music a way to express herself. Euzkadi’s shows were characterized by the rawness and artistic creativity, and their music by the mix of different music genres such as, psychedelic, punk, rock, bolero and jazz.

Furthermore, Lobo, from the fanzine Revista Basta, refers to Argentinean punk as a “kultural” movement that was spread out through radio shows, magazines, fanzines, and shows and is was formed by people that didn’t “fit” into the rest of society.

Shows and “festipunks” or punk fests maintained unity in the Tucumanean scene. Bands organized shows anywhere they could: houses, garages, stores, sports fields, among other venues. In the ’80s, shows were usually attended by dozens of punk kids; by the ’90s the assistance of punks to shows ascended to the hundreds, and even thousands in fests. On a small level, the development of the punk movement in Tucumán was helped by friends spreading the word about bands and gigs among their peers, exchanging cassettes and records, jamming and playing music. Punk movement stayed active because “punkies” could “share with people like us”; that is, likeminded kids getting together to listen to punk and make music, which is what identified them as a group.

(See below for the links to continue watching the full film.)

Chapter 1 of the documentary is about the hard rock and punk movements in 1980s Tucumán; described through the accounts from the protagonists of the scene in that time (band members, radio show hosts and fanzine editors). They talk about the places where they used to hang out, the difficulties the scene had to face, and the contradictions of the so-called democracy after the dictatorship. The difficulty to access instruments and equipment, records and music; also, mainstream society’s prejudices, and the ongoing police repression are among the topics discussed by the interviewees.

Chapters 2 and 3 try to reconstruct the emerging punk and hardcore in Tucumán in the ’90s. Some of the interviewees talk about the beginnings of their bands, fanzines, and radio shows in a time were the metal scene was most predominant. Moreover, important bands like Volstead, Eructo, Los Chiclets, and Sol Perpetuo are mentioned. One of the most important topics discussed in the second chapter is the introduction to the movement of issues such as animal rights, vegetarianism, and encouragement of female participation in the scene by the band Fun People from the Buenos Aires scene; the first one to come from another city. In chapter 3, female musical involvement in the scene is discussed more in depth; as well as the fanzine movement in Tucumán.

Chapter 4 is about the creation and distribution of fanzines in Tucumán and other cities in Argentina. Along with the punk movement, the concept of creating zines in Argentina develops in the early ’80s. In spite of the scarce resources Tucuman punks had, in the ’90s the fanzine movement gained momentum. Fanzines were distributed throughout the country and the world; this created a worldwide net through the mail. Publications were exchanged from the scene of one country to the other, ideas were spread, and friendship and cooperation bonds developed.

Una Parte: Documental de la escena punk en Tucumán, Argentina.

“A través de este precario documental realizado a través de entrevistas, archivos de un programa de televisión y material aportado por los y las protagonistas se trata de remarcar el valor cultural, político y social del punk, del hardcore y de las personas que estuvieron involucradas en construir un movimiento de manera autogestionada y al margen de todo organismo estatal.”
—José Saravia.

El documental Una Parte fue realizado por José Saravia con la colaboración de Benjamín Herrera y Fito Pereira. Es una extensa compilación de entrevistas, testimonios e historias de integrantes de las bandas de punk que han existido en la provincia de San Miguel de Tucumán, localizada al noroeste de Argentina. En el documental, Saravia presenta una gran variedad de fotos y grabaciones de conciertos, e imágenes de zines de Tucumán y toda Argentina.

Este “mega proto-documental” está dividido en cuatro capítulos: el primero que habla del movimiento punk en Tucumán en los años ’80, el segundo y tercero que hablan de la escena en los años ’90 y el cuarto que se enfoca en los fanzines. El movimiento punk en Tucumán surgió en medio de la transición de la dictadura militar que gobernó a Argentina de 1976-1983 a la democracia. Estos cambios políticos y sociales marcaron a la juventud que emergía de esa época oscura con nuevas esperanzas para manifestar sus ideas y expresarse libremente. El punk, como movimiento musical, sociocultural y político surge como ese anhelado medio de expresión de los jóvenes de actitud “punk” y “rebelde,” sobrepasando prejuicios, estereotipos y el estigma de la sociedad general. “Encontré en el rock un espacio para decir,” relata Coqi Mendez, cantante de la banda Euzkadi formada en 1991; refiriéndose, que hacer música para ella como cantante era una forma de expresión. Los conciertos de Euzkadi se caracterizaban por su crudeza, y creatividad artística y su música por la mezcla de otros géneros como psychodelic, punk, rock, bolero y jazz.

Por otro lado, Lobo, del fanzine Revista Basta, refiriéndose al punk en Argentina dice que es una movida “kultural” que se difundía por medios como radio, revistas, fanzines, y recitales o conciertos, y estaba formada por personas que no “entraban” en el resto de la sociedad.

Los conciertos y los “festipunks” ayudaban a mantener la escena tucumana unida. Las bandas organizaban conciertos en cualquier lugar: casas, garajes, locales comerciales, canchas deportivas, entre otros. En los años ’80, el público constaba de decenas de jóvenes, ya para los noventa eran cientos y hasta miles los que asistían a festivales. En menor escala, algo que también ayudo al desarrollo del movimiento fue el sentimiento en común que compartían los jóvenes hacia la música punk. Los punks se reunían a tocar, intercambiaban casetes y discos, y difundían la voz, sobre movimiento, entre sus amigos. El movimiento se mantuvo activo por el hecho de que los “punkys” podían “compartir con personas que son como uno.”

El capitulo 1 cuenta de “las movidas” o los movimientos hard rock y punk en Tucumán en los años ’80 a través de relatos de sus protagonistas (integrantes de bandas, programas de radio y editores de fanzines). Estos comentan sobre los lugares que frecuentaban, las dificultades a las que se enfrentaban y las contradicciones que presentaba la tan esperada democracia luego del fin de la dictadura . El difícil acceso a instrumentos, discos, videos y equipos, los prejuicios de la sociedad, el estigma del miedo y la continuación de las prácticas represivas son algunos de los temas a que se refieren los entrevistados.

En los capítulos 2 y 3, tratan de reconstruir lo que fue la incipiente movida punk y hardcore en Tucumán a mediados de los ’90. Algunos de sus protagonistas nos comentan como comenzaron con sus bandas, fanzines y programas de radio en una época donde el movimiento era más bien metalero. Además, se hace mención de las bandas que tuvieron un poco más de trascendencia como Volstead, Eructo, Los Chiclets y Sol Perpetuo. Unos de los temas resaltantes del capítulo 2 es la introducción al movimiento (por parte de la banda Fun People de Buenos Aires) de temas como los derechos de los animales y vegetarianismo e incentivaba la participación femenina en la escena. En el capítulo 3 también se discute más a fondo la participación femenina en el aspecto musical del movimiento y se introduce el tema del movimiento fanzinero en Tucumán.

El capítulo 4 trata de la creación y distribución de los fanzines en Tucumán y otras ciudades de Argentina. Junto con el movimiento punk, la idea de los fanzines llega a Argentina a principio de los ’80. A pesar de la precariedad económica con que se manufacturaban los fanzines en los ’90, el movimiento fanzinero alcanza gran masividad. Se empiezan a editar y distribuir fanzines a lo largo de todo el país y del mundo, creándose una extensa red conectada por el correo postal, a través del cual se intercambiaban las publicaciones, se difundían ideas y se creaban lazos de amistad y cooperación.

Find the videos here!
Chapter/Capítulo 1 (in three parts): vimeo.com/31139997
Chapter/Capítulo 2 (in full): www.unaparte.com.ar
Chapter/Capítulo 3 (part 1): www.youtube.com/watch?v=0iZYyhuGTYU
Chapter/Capítulo 3 (part 2): www.youtube.com/watch?v=_khI74jQM14
Chapter/Capítulo 4 (in three parts): www.youtu.be/KMbI6KbYuY8

The show was a benefit for Invisible Children. Over $650 was raised for charity through collections at the door and a vegan bake sale that went really well.

By Panos Andrianos:

Back in the mid-’80s/early ’90s, most Western punks didn’t even know where Greece was on the map. Many thought that Greece was all about feta cheese, ouzo, bouzouki, islands and traditionally dressed old ladies. During the last couple of years, things changed. Nowadays, Greece is well known internationally as the first eurozone country, which pretty much went bankrupt.

However, most punks worldwide still know nothing about the well hidden Greek do it yourself punk/crust movement of the mid ’80s and early ’90s, a movement which was authentic, had character and managed to influence deeply the majority of the local punks.

What follows, is a number of hard to find videos (mostly live sets) that were recently uploaded on Youtube. This is just to give you a short picture of what was going on in the early days of the Greek punk scene, which in my opinion was way better than the current one.

I am not giving any details about the bands performing in these videos. Check the upcoming Mountza issue (a fanzine I am doing with two friends) for an extended coverage of this scene. Bear in mind that back then 95% of the live performances took place in squats or open sites (city squares and parks) and were run in an 100% diy way. None of the following bands accepted ever to play at commercial rock clubs with high entrance fees while most of them released their records themselves.

ANTI (1980 to 1990)

(Unofficial video clip, unknown date)

FORGOTTEN PROPHECY (Ξεχασμένη Προφητεία, 1989 to 1991)

(Athens, Villa Amalias Squat 1990)

(Athens, An Club 1990)

Oh yes, there’s lots more…

CHAOS GENERATION (Γενιά του Χάους, 1982 to 1989)

(Athens, Lecabetous 1986)

STRESS (1980 to 1985)

(Video Clip 1984)

(Athens, Villa Amalias Squat 1992 – Reunion Show)

(Athens, Live in Kallithea Square, 1985)

BREATH ASH (Ανάσα Στάχτη, 1992 to 1997)

(Athens, Live at Pedion Areos 1993)

TRISATANIC DIAVOLATOR (Members of Naftia, 1990 to 1993)

(Athens, Live at Pedion Areos 1991)

NAYTIA (1988 to 1993)

(Video made in Oslo, Norway, in 1989 during their first European Tour with Chaos UK)

(Athens, Pedion Areos, 1991)

(Athens, Pedion Areos, 1993)

CHAOTIC END (Χαοτικό Τέλος, 1989 to 2001)

(Athens, Pedion Areos 1993)

(Athens, Villa Amalias Squat 1990)

PANX ROMANA (1982 to now)

(Video Clip, 1989)

NEGATIVE STANCE (Αρνητική Στάση, 1989 to 1993)

(Athens, An Club 1992)

(Rehearsal Video, Villa Amalias Squat rehearsal studio 1991)

HUMAN LETHARGY (Ανθρώπινος Λήθαργος, 1991 to 1993)

(Athens, Pedion Areos 1991)

(Unknown Location, 1993)

OUT OF ORDER (Εκτός Ελέγχου, 1984 to 1994)

(Athens, Neapoli Park 1984)

(Athens, Neapoli Park 1984)

PANIKOS (1988 to 1996 and reunion since mid 00s)

(Thessaloniki, Live after their reunion at Biologica Squat 2008)

(Thessaloniki, Live after their reunion at Street Attack Squat 2008)

ΑΚΡΟΣ ΑΝΤΙΘΕΤΟΙ

(Athens, Live at Villa Amalias (1st building) in 1989)

…Feel free to piss us off at mountzazine {at} yahoo(.)com www.mountza.com