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Artwork by Mathew Chandelier.


“New Blood” is our weekly feature spotlighting new bands from around the world! See below for info ...

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Reissue of the Week: MERCENÁRIAS Demo 1983 LP

Reissue of the Week: MERCENÁRIAS Demo 1983 LP

MERCENÁRIAS – “Demo 1983” EP There is probably no band like MERCENÁRIAS. This 3/4 femme Brazilian ...

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Record of the Week: DAN MELCHIOR’S BROKE REVIEW Lords Of The Manor EP

Record of the Week: DAN MELCHIOR’S BROKE REVIEW Lords Of The Manor EP

DAN MELCHIOR’S BROKE REVIEW – “Lords Of The Manor” LP The welcome return of DAN MELCHIOR’S ...

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Top Tens from MRR #389 • October 2015

By popular demand, we present our reviewers' Top Tens from the current issue of Maximum Rocknroll! Here are ...

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Threat by Example. An interview with Martin Sprouse by Martin Sorrondeguy.

This originally ran in MRR #291/Aug ’07. The 25th Anniversary Issue which you can order ...

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MRR Radio #1416 • 8/31/14

August 31st, 2014 by

Rachel and Nathan dig through the collection, and Dan sandwiches their jams with demos and new releases.


Intro songs (dedicated to Michael Brown):
AK-47 – The Badge Means You Suck



Dan is stoked on demos and a working tape deck
SORROWS – Change Your Mind
BAD BLOOD – Catch a Bad One
NARCOLEPTICS – Intro/Programmed

Rachel’s cute songs that make her happy
CRUCIFIX – Steelcase Enclosure
THE ABUSED – Nuclear Threat
GERMS – No God
BROWN SUGAR – Total Fucking Garbage

Rachel and Nathan didn’t name their combined set
NIHILISTICS – Love and Kisses
SICK PLEASURE – I Don’t Play Pretty Music
FLOWER LEPERDS – Only 12 Years Old
KILSLUG – Make It Rain

Nathan’s turn
OUTBURST – The Hardway
POISON IDEA – Ballad of a Pre Op
STISISM – Dancing with Bacteria
SUPERTOUCH – Searching for the Light

Dan ends with a new one and a new reissue
BLOTTER – No Country for Old Kids

Outro song:
VOMIT PIGS – Baby’s Playing Games

Maximum Rocknroll Radio is a weekly radio show and podcast featuring DIY punk, garage rock, hardcore, and more from around the world. Our rotating cast of DJ’s picks the best of the best from MRR magazine’s astounding, ever-growing vinyl archive. You can find MRR Radio archives, specials, and more at radio.maximumrocknroll.com. Thanks for listening!

Create to Destroy! PORK magazine

February 5th, 2014 by


UPDATE: Please read the comments section below.

PORK and I have interviewed a few of the same punks of interest, including Weird Luke and WHO KILLED SPIKEY JACKET? Since great minds think alike, and rock ‘n’ roll aesthetic and lifestyle are my thing, I thought I’d interview the person behind this dirty rocker rag for all you knife carrying, denim vest wearin’, good for nothing hooligans out there looking for a good time and a good read. Here’s Sean Äaberg of PORK magazine…


What do you mean by “PORK”?
Well, exactly, right? PORK is pig meat, PORK is to fuck, PORK is a play by Andy Warhol about Brigid Berlin starring Jayne County, which was a secret spark for the bombs of glitter rock and ultimately punk rock. PORK is a four letter word and it is a way of life.

How do you feel about the pigs?
KEEP KOPS KOSHER! The first thing that comes to mind is “Fuck the pigs,” but this is too easy of an answer. Police are a necessary element of any society and like anyone or anything wielding power and authority over others, there are issues with this. I dislike anyone telling me what to do and trying to lord bureaucratic power over me, but it’s a part of life I don’t see ever going away, so I just try and make sure to stay on their good side you know? I’d like to have enough money to pay them off one day.

Where do you exist?
We are currently located in PORKLAND, OREGON. We started PORK in Eugene, Oregon of all places, but we are from Oakland, California. PORK thrives best in the dirty streets between Chinatown and the Ghetto.

How do you afford to leave free, large sized newspapers at choice locations all over the USA?
All over the WORLD darling! You can find PORK in Mexico, Japan, Afghanistan, China, Japan and even exotic Canada! PORK is paid for by our generous and cool, small business advertisers and our wonderful contributors donate their talents to us for a taste of PORKING THE WORLD.


Tell me more about your distribution.
We rely on a grass-roots network of true-believers who make sure that each issue of PORK gets to where it needs to go. We have PORK ARMY members who place it directly into the hands of those that need it most and we ship directly to businesses and stuff that want to PORK their customers. I hand deliver PORK in the Pacific Northwest and Katie’s dad does our Bay Area distribution.

Well, you most certainly have fans in the Bay! Tell me more about what PORK stands for, if anything.
Rock & roll, weirdo art, bad ideas. Balls to the wall trash culture, freedom and freak out the squares!!! Banzai!!!

How long have you been doing this?
This is PORK’s third year coming up! It’s wild! But I’ve been doing punk zines since I was 12, and my wife and partner in PORK, Katie, has been doing zines for almost as long. We’re in it for the long haul and we’re in it to win it.

Who are your partners in crime in the USA? Canada? Europe? South America? Japan?!
Our partners in crime are too numerous to mention, but you will know them by the spirited look in their eye, the rattle of chains, the shine of studs, the smell of unwashed denim, the clomp of boots and the dirt under their fingernails.

How do you fund your mission?
PORK is an independent family business. We work our asses off.

Have you been sued for any stabbings and related deaths due to your distribution of comb knives?
Of course not, but we were ordered to stop selling them in the PORK SHOP because paypal has some stupid rule against selling weapons which is un-American, anti-freedom and just plain lame.


That’s ridiculous. It made a great birthday present for my girlfriends. Shame we can no longer get our girl gang weapon of choice on your site any longer! Tell us about your web store.
The PORK SHOP (porkmagazine.bigcartel.com) is the best store in the world! We are inspired by the sleazy smoke shops and dime stores of years gone by, and by the Johnson Smith catalog ads in old comic books. We try to mix a childish obsession with fun and intentional indiscretions, feather ruffling and rule breaking just to upset the pencil-necked geeks out there. Ultimately this is a fucking way of life and the stuff we sell helps to flesh out this whole world that we are developing.

How can we support Pork?
Live free or die trying! Shop at the PORK SHOP!!!

Should we join the Pork Army?
If you have the crazed desire to shoot fireworks out of your bottom, to upset people just for the sake of upsetting them, to be a part of a gang of cartoonish desperadoes that drink in public, scare the squares and inspire admiration in the people, have shop-keepers follow you around the store, to wear a denim vest year-round and have little kids want to be like you, you should! If you like Motörhead, Robin Hood, old street gangs and the Road Warrior, you’ve got an army!

Any last words, punk?
We are living in one of the craziest, most fucked up, most important periods in history and it’s time for people to wake up and start living, fighting against the system and standing up for what’s right. It’s time to put aside our petty differences, unite and smash the system. People who are not elite members of society are being phased out, to be replaced by robots, but this is gradual, so in the mean time they are keeping us castrated, declawed and entertained, milking us dry and they’re gonna grind us up as organic top soil. So now is not the time to be a yuppie, now is not the time to obsess over bullshit petty squabbles, now is not the time to hide in your fucking internet cyber-holes, now is not the time to be entertained by the system’s bullshit, now is not the time to be a wimp, now is the time to be out on the streets, every day and take back what is rightfully ours!


Sean Äaberg
PORK Magazine
PO Box 90296
Porkland OR 97290


Interview: artist Brett Hunter

December 8th, 2013 by

Brett Hunter‘s art is as distinctly Carbondale, IL, as The Lost Cross House or post-show night lake swimming. His artwork is everywhere in town — from punk house walls, to light posts, to boutique stores, to large music venues. Somehow between writing, recording, and touring relentlessly with his bands, The Copyrights, The Heat Tape, and Dear Landlord, he finds the time to make a ridiculous amount of quality art and live off of it. He makes fliers, large sized paintings, t-shirts, shoes, sunglasses, you name it. I’ve been a huge fan of his work since I first saw it just over a decade ago. He’s a huge inspiration to me and a lot of people in our shitty little town because he proves that you don’t have to move away to a city in order to live off of what you love doing — being weird and working hard is all you really need.

by Ray Martinez-Suburbia


When I first met you back in 2002, you were primarily known in town as a musician who did some occasional flier art. Even then your art had a very distinct style, one that you’ve obviously elaborated on and honed over the years. Did the music come before the art, or the other way around? When did you think, oh shit, I’m an artist? Or have you even ever thought of yourself that way?
I don’t think of myself as some great important artist, but I’ve come to realize that it is what I am meant to do, and will be my life’s work. I’ve always made art, pretty much my whole life. It was very encouraged when I was a kid. I didn’t start playing music until I was 17, so the art definitely came first. But, I guess I really didn’t think, “Oh shit, I’m an artist,” until Bollman asked me to paint one of the window boards at Lost Cross. That was probably around 2002 — he made these boards to fit in the windows when there were shows, so that “the pigs” couldn’t see or hear all the fun we were having. I had never really painted anything that wasn’t on cardboard or paper at that point, and had never really sold anything, or shown work, or any of that stuff. He just knew that I was into drawing from fliers. The board turned out great, and I realized I could paint with cheap paint on cheap plywood, with three or four colors straight out of the tube, and make a surprisingly effective image. I had an art show at a coffee shop about a year later and started selling paintings. I’ve pretty much been doing the same thing ever since.

You’ve been using a lot of the same motifs in your art over the years, almost in phases. I remember a lot of babies and variations on the Old Style logo; now there seems to be a lot of eyes and text, and of course the obvious self-portrait style references. How did these different motifs develop? Have the changes been conscious?
Most of the themes or repeated images just came out of unconscious scribbling in my sketchbook. Then, looking back afterward, I could pick some images from those scribbles and use them in bigger paintings. Over the years I’ve come to realize that once I start thinking about something too much, or at all really, it ruins the whole thing. This goes for songs as well as paintings. Recently, I’ve embraced the idea of “effortless action,” just clearing my head and letting things happen without thinking about them. I just decide to make a song or a painting, get an initial idea, start working, and follow through. I like to get things done all in one day, never stopping to second guess myself. I work much better that way. You can learn a lot about yourself by going back and looking at what you unconsciously created.

As for text, I always grew up around American folk art. My grandparents liked to drive around and visit these weird self-taught artists all through the ’90s. They collected works from a bunch of different people — Howard Finster and Dow Pugh are two of my favorites. A lot of these pieces have strange messages on them, sometimes covering the entire piece. This was a big influence on my work. I can relate to these people because I have no real training but feel compelled to make things always. I consider myself to be a folk artist. Maybe “neo-folk” artist, ha ha.


As much as some people like to pretend it’s not true or that it’s total bullshit, punk and art have always gone hand-in-hand. Before punk became a lifestyle, it was an aesthetic. How much influence did punk art have on you and your own art? Were there any album covers, or even stuff like t-shirt designs that blew you away when you were younger?
I’ve always been a sucker for the shocking images from Black Flag and Dead Kennedys album covers — Pettibon and Winston Smith. I like it that they even freak out punks as well as squares. I mean, a cop with a gun in his mouth that says, “Make me cum, faggot”? Amazing. I like it when people try to be offensive and shocking; it makes me laugh. I like art to be ridiculous, mine included. Unfortunately, it’s hard to sell a painting of a naked kid trying to sell the freshly severed head of a naked man to another naked man. When did penises become offensive anyway? People even seem offended by breasts lately, or nudity of any kind — what the fuck? Squares everywhere, even in punk.

I mostly use nude figures in my paintings, because I feel like adding clothing adds unwanted stigma… Positioning the limbs to cover the “privates” seems really fucking lame to me, so I just put the dick in there, ya know, where the dick goes. That’s how I found out that the whole world hates penises.

Considering you are, in fact, the resident artist in all the bands you’ve been in, why is it that you’ve only done three record covers — The Copyrights’ Make Sound LP and the Dear Landlord/Chinese Telephones split 7” in 2007, and The Copyrights Learn the Hard Way LP in 2008, which was old art recycled for the cover. Have you done any shirt or sticker or miscellaneous other art for any of your bands?
I guess it’s because I never felt like I could just do whatever I wanted. All of the input and criticism from band members bummed me out and blocked me up. Also, I’m just not that good at graphic design stuff. I’ve had several t-shirt designs that I did that flopped because, frankly, they totally sucked. I think my “do it without thinking” philosophy doesn’t work for that kind of shit. Lately I’ve gotten into drawing electronically, on my tablet thing; that might make for some cool designs. I do all of the t-shirts and record layouts for The Heat Tape. I feel like I can do whatever I want with that band.

When Chinese Telephones and Dear Landlord went on tour together back in 2007, it was the first time I ever saw you selling non-band related art at shows. It was screen-printed self-portraits on large pieces of wood with different colorings and text painted over the repeated design. No band name, or logo, just pieces of art. You were selling them at totally affordable prices too, something like $20. Was this the first time you tried selling your art on a tour? And what made you think of doing that?
I did that once before, on the same kinds of boards, all the same size but different images on each one. It was for a tour with Groovie Ghoulies. I guess Kepi Ghoulie gave me the idea to sell art on tour. I was in a crazy hurry to get a bunch of pieces together before tour, and it took forever. I decided to make it easier the next time by including a screen-printed outline and minimal painting. This also made it easier for me to let them go for a minimal price. I sold a handful, probably gave more away. It was great to get 20 bucks in my pocket every couple of days. I remember Lauren from The Measure (SA) bought one, which was flattering. I haven’t brought art with me on tour since then, really. It was always awkward trying to fit my stuff with the band merch, and I felt like everyone just found it annoying. It took up space in the van and I was always freaking out about everybody else fucking them up. I recall roadie extraordinaire Lew Houston drunkenly cramming a stack of my paintings in the van as if he were stuffing pizza boxes in a trash can. He apologized in the morning.


I know that you’re not the first weirdo artist in your family. I was wondering if you could tell me a little bit about your grandfather and his art and how that has influenced you. What has your family thought about the stuff you do? I’m curious as to what a parent’s reaction to a near life-size self portrait of their son with a droopy eye and a hammer dick would be. Read the rest of this entry »

Create to Destroy! Thrillhouse Records

October 31st, 2013 by

My first San Francisco show was at Thrillhouse Records in early 2011. I went with the fabulous Martin and then-MRR coordinators Layla and Mariam. The place was magic from first sight—a record store front and a show space in the back. They also do shows in the basement! The place instantly feels like home and has that gritty DIY punk spirit oozing from the walls. I talked to Fred to get an update on our favorite local, all-ages San Francisco record store/sometimes show space…


When did Thrillhouse happen?
Well, I guess that depends on what you mean by “happen.” We found the building in August of 2006. It was a complete wreck—super gross and moldy, the electricity was fucked, broken pipes, you name it. We bartered with the landlord to give us two months’ rent for free so we could fix the place up into a livable condition. He was very firm on renting the place out “as is” (i.e., he didn’t want to lift a finger). After a month and a half we fixed most of the problems and built rooms in the place. At that point we moved in, and started to get to work on opening the record store, which opened in January of 2007. Then we went to work fixing up the basement and started throwing shows there around March of 2007.

How long did you talk about it before it became a reality?
Actually not all that long. In the fall of 2005 I started my masters program for History at San Francisco State University. Up until then, my plan had always been to go as far as possible in school. I had been talking about PhD programs with my professors. My ambition was to teach on the college level and write (but I was gonna publish a lot of my stuff in zine form, thought that would be really cool). Anyway during my second semester I got really burnt out. The workload was insane, I couldn’t catch up, I was constantly stressed to the limit. And in addition to all of that, school was basically forcing me to drop out of punk. I didn’t have time to go to shows, find new records, or even read an issue of MRR (oh, the horror). I felt like I either needed to drop out of school, or make peace with dropping out of punk. Be a punk or be an academic. I choose to be a punk. But, I told myself that if I was going to drop out of school that I need to actually do something big. Make it worth it. I was already in crazy workaholic mode. So when the idea of Thrillhouse came to me, I started working on it right away. About six months later I was signing a lease.

Thrillhouse punx!

Thrillhouse punx!

Where did the name come from?
Okay, yes, it is a Simpsons reference, but here’s why…  I really wanted the name to have the word “house” in it because, in addition to being a record store or whatever, it was my home. It was the house me and my friends lived in. So there were some ideas like “Flophouse Records” or “Madhouse Records”—shit like that. But while watching a Simpsons episode, there was a scene where Milhouse called himself “Thrillhouse.” I suggested it as a joke to my friends and they all thought it was cool. And what really won me over about the name was that it was extremely original. One-of-a-kind kinda names. There’s a million places called “the Babylon” or “the Fort,” but nobody calls anything “Thrillhouse.”

All these rich people are flooding our town. All the degenerates are getting priced out, but at least we’re still here keeping things dirty and gross, keeping San Francisco a place that’s still punk.

Can you explain how Thrillhouse works?
Basically it’s an all volunteer, not-for-profit record store. It’s open every day from noon to 8 p.m. It’s mostly punk, but with some other stuff that falls into punk’s orbit. Like we carry STOOGES records and VELVET UNDERGROUND, shit like that. We have a lot of used records that are a long ways away from punk, but we focus all our new music buying to mostly punk records. For the longest time we were just trying to get ourselves out of debt. It was a slow road, so all our money went into that and fixing up things around the store, the house and the show space. Not to mention buying more and more records. So the whole “not-for-profit” thing was almost like a joke, cause it was like, “What profit?” But now we’re actually there, and it’s getting time to decide what we’ll do with the profit. Probably try to expand our operations, put out more records, build a community screen-printing workshop in the basement, stuff like that. Maybe even get a pinball machine for the shop. I don’t know what we’ll do…

You mean, no one is paid?
Nope, no one. Not me, not nobody. All the money that comes in is reinvested into making the space better. Maybe putting out some records, and other cool stuff for the community. Sometimes I think I’m an idiot for having poured in hundreds or even thousands of hours into a project that hasn’t given me a penny in return, but when I sit back and think about it, I’m real glad I’ve done it. ‘Cause in the past seven years since we’ve opened, San Francisco has gone through an enormous change. All these rich people are flooding our town, and the old dirty spots are closing and being replaced with these clean, slick, posh boutiques and restaurants. All the degenerates are getting priced out of town and moving to Oakland and elsewhere. San Francisco is becoming a different place. But at least we’re still here keeping things dirty and gross—a stain on the city—and having a spot the degenerates feel welcome in, keeping San Francisco a place that’s still punk.


Who has volunteered the longest?
Aside from myself, that would be Wade Driver. He’s held down his Tuesday shift from almost the beginning. I think he started working that shift only a few months after we first opened. He’s an awesome dude. Plays in the band APOGEE SOUND CLUB right now but in the past he’s played in 50 MILLION, THE HICKOIDS, CORDUROY, J CHURCH, THE REACTION, OFF THE PIGS…the list goes on, too many to name.

How do you volunteer?
Just talk to me. A lot of people will just walk in and ask about volunteering, or they’ll see me at a show and mention they wanna grab a shift. Others can email us — our email address is on our website at thrillhouserecords.com. We don’t do Facebook or anything.

How can you afford to keep your record prices so fair?
That’s just from being an all volunteer spot. There’s no one at the end of the line trying to make a buck off this place. So because of that we look at our pricing and think, “What’s the least we can charge for this and be okay?” Whereas most businesses would instead think, “What’s the most I can charge for this and still be okay?” It’s just a different mentality and because of that our prices are waaaaaay cheaper than any other record store in Bay Area or elsewhere.

Has Thrillhouse changed as the demographics of San Francisco change?
Thrillhouse hasn’t changed but the city has definitely changed around us. Like I said before, everything is richer and cleaner. I guess we may have gotten dirtier. Perhaps smellier.

Do you still do monthly shows?
No, not at the moment. We’re taking a break. When we first started we did weekly shows, and it was awesome, but a really draining, physically and psychologically. After a bit, we got some attention from the police so we cooled it off and started doing monthly shows. About two months ago we were contacted by the San Francisco Entertainment Commission saying we didn’t have the proper permits to have live shows, so we’re taking some time off and trying to figure out our next step. But to be honest I don’t mind taking off just a little bit of time. I’ve been cleaning up random puke and dealing with passed out strangers for the last seven years. It’s okay to take a few months off and let other folks deal with that for a minute.

What was the last show at Thrillhouse?
SOURPATCH, KITTEN FOREVER and CRABAPPLE played last July. Haven’t had one since.

What was the first show at Thrillhouse?
Well, it turned out to be HEY GIRL, LES INCOMPETENTS, FENCE FIGHTER and CHIN UP MERIWETHER, but it was supposed to be SEX VID. Everything was all set for the show, but then on the morning of the show, I went downstairs only to find the entire basement flooded in sewage. Our sewage pipe broke and every time someone flushed the toilet, it sent all the mess onto our basement floor. I spent the entire day with a plumber figuring out how to drain the basement, fixing the pipe and then cleaning the place up. I think we bought about ten gallons of bleach and poured it over every inch down there. That night while all my friends were rocking out to SEX VID at some house in the Mission, I was picking up human turds with a shovel. Definitely one of the grossest day of my life.


What percentage of door money goes to the bands who play?
All of it. Every penny goes to the bands. And since we don’t turn anybody away for lack of funds, there are generally a lot of pennies at the bottom of our money box. Our policy has always been that every show is “pay what you can” with $5 as the suggested price. But we’re also not over idealistic (stupid) about the reality. We all know there’s always gonna be a pile of oogles at every show who pretend like they don’t have any money, even though they are walking in with a 12 pack. Generally, when I’ve worked door I’ll say, “Okay, I totally believe you don’t have any money, but if you wanna just open up your wallet and show me that there’s no money in there, I’ll let you in for free.” Nine out of ten times they’ll change their story and say, “Well, I do have money, but I need it for other stuff,” etc., etc. It’ll take some talking, but you can usually get some dollars from them for the band. Although when we have a band from overseas I’ll take a more extreme approach. In that case the show will either cost (a) $5 or (b) a lock of your hair. And I’ll sit at the door with a pair of scissors and I’ll say, “Oh, you don’t have any money for the band from Japan? That’s totally cool..lemme just take a chunk out of your hair and we’ll be square.” Almost every time they’ll somehow come up with $5. But there’s definitely been plenty of crusty kids who are totally okay loosing some hair to get in for free. Only once did a skinhead show up to one of these shows claiming to be without money. I had to think fast so I said, “Okay it $5 or…uh…a sleeve off your shirt!”

Any future plans?
Yeah, we’re gonna release another By Any Means comp tape. We did one for 2013 and planning another for 2014. The idea behind the tape is to make a comp tape of Bay Area bands who are active and doing cool stuff right now. So if someone from out of town (or whatever) is curious about what’s going on in the Bay right now, they can check out the tape and have a pretty good idea. But there’s also this thing where the Bay Area punk scene is massive. There’s so many punks, so many bands, and so many different scenes out here, that you won’t even know about great bands that are outside of your scene. Like, you’ll have heard the band name, but not know what they sound like. So for this tape, we try to collect a lot of different bands from different scenes, and put ’em all together.

Aside from that, we’re trying to put together a screen printing workshop in the basement that will be free and available to everyone, with help available to first time users. The idea being that we can have a place where bands can come in and make shirts or posters or whatever. But really anyone that has any kind of project is more than welcome. We have also been talking with Lydia over at MRR about having punk movie nights on the regular. There’s a few records we might be putting out, and there’s a bunch of other stuff we have down the pipes, but it’s still just in the “talking about it” phase.

How can we help support Thrillhouse?
Just by coming in and hanging out. Stop by when your band is in town or whatever. And if you don’t live in the Bay Area, and you’re not planning on visiting any time soon, maybe just spraypaint “Thrillhouse Rules” somewhere in your town. Bathrooms and sides of buildings are great, but pretty much any flat surface will do.

Go visit Thrillhouse Record at 3422 Mission Street in San Francisco… Keeping SF punk!

Video of the Week: Last Fast Ride

October 11th, 2013 by

San Francisco’s public TV station KQED recently aired Last Fast Ride: The Life, Love and Death of a Punk Goddess, the 2011 documentary about Insaints singer Marian Anderson, and they are making it available to watch online for a limited time — through November 5 only! Watch it here, and read Rotten Ron’s 2011 write-up of the film below.


If you’re not from the Bay Area you may or may not remember Marian Anderson. She was the super outrageous and controversial singer of THE INSAINTS in the ’90s. She almost got Gilman shut down for sticking a banana in her vajayjay and other sordid sexual acts when the douchebag ex-drummer of the DKs called the man. She also had a torrid relationship with Tim Yo, who she loved dearly till the end. I just know her as one of my few bestest friends and I loved her dearly. One ex-girlfriend even used to refer to her as my mom. I was in a band with her and lived with her when I moved to Hollywood, taking me in when I had no place to go. Anyway, the movie is fantastic. Along with fellow Marian pal Nick, we drove all night to make the film’s premier at Sundance, resulting in us getting pulled over and detained for two hours while drug sniffin’ dogs were sicked on our ripped apart rental car. She would have loved it. Fuck the pigs! Great and heartfelt interviews with Tim Yo(!), Lint, Daniel from the Insaints, the dude from the Offspring, and love of her life Danielle Bernal, along with all of her friends. Narrated by Henry Rollins!?! I cried my guts out and so will you. A woman who rose from sexual and physical abuse, who wasn’t bitter but loving and protective as hell to those lucky enough to call her their friend. Don’t miss it.