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MRR Radio #1587 • 12/10/17

This week Matt pulls some rarities out of the vault to make the scums and punks drool. Intro song: STENGTE DØRER ...

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MRR Radio #1586 • 12/3/17

On this week's MRR Radio, Rob goes ballistic for late '70s and early '80s Bloodstains punk rock from around the ...

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Maximum Rocknroll #416 • Jan 2018

Another new year, another exciting issue of Maximum Rocknroll! MRR #416, our January 2018 issue, begins with a sad note as we ...

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"Who gives a fuck?"

MRR Radio #1585 • 11/26/17

“[...] Elvis gives them a short speech about the death pangs that humanity must go through in order to reach ...

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MRR Radio #1584 • 11/19/17

Another fuct up Rotten Ron and Horrrible Halitosis Punker Power Hour. Intro song: DRUGCHARGE - Husk Rotten Ron fucks it up so you ...

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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!

MRR Radio #1372.5 • 10/30/13

October 30th, 2013 by

MRR Radio is a weekly radio show featuring the best DIY punk, garage rock and hardcore from the astounding, ever-growing Maximum Rocknroll record collection. You can find the MRR Radio podcast, as well as specials, archives, and more info at radio.maximumrocknroll.com. Thanks for listening!

This week: BAD NOIDS and DRUG PROBLEM join *Dan* for a special midweek bonus episode of MRR Radio!

</em><em>/ with a sample review and pics, and maybe you too can be a bona fide MRR web shitworker! Now, back to Will…</em></p> <p>Since this show was about three months ago, a lot of the nuances have melted out of my brain, that being said… I’m going to keep this short and sweet. The show was a surprisingly good show full of some bands you probably have never heard of. So here is what went down at Dregg’s Grotto on September 18th of 2010.</p> <p>[caption id="attachment_5596" align="alignleft" width="300" caption="Rich Lombardi of Old Painless (Photo by Will Butler)"]<a rel="attachment wp-att-5596" href="http://www.maximumrocknroll.com/?attachment_id=5596"><img class="size-medium wp-image-5596 " src="http://www.maximumrocknroll.com/wp-content/uploads/2010/12/Butler_OP_Rich-300x450.jpg" alt="" width="300" height="450" /></a>[/caption]</p> <p>The first band to play is <strong>OLD PAINLESS</strong>. Their first show was the  night before when they played in GSO at Legtimate Business and opened for Nails.  Let me say, holy crap, what a second show! Rewind to a couple months ago, I’m friends with their drummer Rodney and we were at Chubby’s Tacos.. he was telling me about the new band he just started with Josh Dobey, Rich Lombardi (from Cloacal Kiss and The Sawtooth Grin), and Alex Taylor (from Stripmines). He dropped the word grindcore on me and my heart sank a little bit. I’m a fervent lover of grindcore, but any time I’ve heard that genre referenced in NC, it just means watered down Discordance Axis style music to the point it is just sped up metalcore. This was definitely not the case. Very technical grindy parts, lots of of super fast blasts (Rodney is a world class drummer), and I really enjoyed Rich’s stage presence.</p> <p>[caption id="attachment_5601" align="alignright" width="300" caption="Thomasina Mancini from Buy The Steak (Photo by Will Butler)"]<a rel="attachment wp-att-5601" href="http://www.maximumrocknroll.com/?attachment_id=5601"><img class="size-medium wp-image-5601" src="http://www.maximumrocknroll.com/wp-content/uploads/2010/12/Butler_BTS_Thomasina-300x200.jpg" alt="" width="300" height="200" /></a>[/caption]</p> <p>After Old Painless, <strong>BUY THE STEAK</strong> took the stage (well took the basement). I had just started to see these folks come out to shows so it was cool to see their band. Female front thrash metal from Garner North Carolina? Fun band, remembered thinking their guitar player, Logan Holloway, looked like an old man in the hat he was wearing. Unfortunately I think you can add this band to the list of short-lived defunct bands from the area.</p> <p>[caption id="attachment_5602" align="alignleft" width="300" caption="Rodney from Thieves (Photo By Will Butler)"]<a rel="attachment wp-att-5602" href="http://www.maximumrocknroll.com/?attachment_id=5602"><img class="size-medium wp-image-5602" src="http://www.maximumrocknroll.com/wp-content/uploads/2010/12/Butler_Thieves_Rodney-300x200.jpg" alt="" width="300" height="200" /></a>[/caption]</p> <p>Next was an awesome surprise set by <strong>THIEVES</strong>, who wasn’t slated to play this show. I’m pretty sure this happened because my roommate kept chanting for them to play since all the guys happen to be at the show, so they borrowed equipment and played a raging quick set. Their bass player Ben loves to do quirky things at every show he plays… I remember him wearing a full 80’s workout getup, he wore a suit once, and I think once he wore a bear costume. Since it wasn’t scripted, I think he decided to sit down in the corner and played bass while sitting against the wall to add to his repertoire. On to how they sounded, they sounded awesome. Super fast and thrashy hardcore. Rodney (yeah the one who drums for Old Painless, sings for Thieves) got up in my face a lot while I was taking pictures. Thieves was definite <em>ON</em> this night.</p> <p>[caption id="attachment_5603" align="alignleft" width="300" caption="Matt Needles of Chest Pain (Photo by Will Butler)"]<a rel="attachment wp-att-5603" href="http://www.maximumrocknroll.com/?attachment_id=5603"><img class="size-medium wp-image-5603" src="http://www.maximumrocknroll.com/wp-content/uploads/2010/12/Butler_CP_Matt2-300x450.jpg" alt="" width="300" height="450" /></a>[/caption]</p> <p>Last to play was <strong>CHEST PAIN</strong>. All I know is that they were a powerviolence band. That could mean a number of things to me… much like my thoughts on grindcore above, but I had high hopes because they are from Texas. I had corresponded with Matt from the band a few times but had somehow never heard them and couldn’t find any music online. I was very positively surprised… very visceral blasting powerviolence. Any band who has a shirtless singer with a gauntlet on is good by me. I also remember the guitar player bending backwards so much that he looked like has about to snap his back and Matt ended up chomping his bass strings at the very end.</p> <p>Quite a night for a show I didn’t know what to expect from.<br /> <BR><P><BR><P><br /> [gallery link="file" orderby="rand"]</p> " data-medium-file="" data-large-file="" class=" wp-image-5640" title="CCM_live1" alt="" src="http://radio.maximumrocknroll.com/wp-content/uploads/2013/10/CCM_live1.jpg" width="268" height="214" />

Cheetah Chrome Motherfuckers

Intro song:

Jake Noid
BROWN SUGAR – Sweet Water Pink Boat
PENETRATORS – Teenager Lifestyle

Justin’s Shitlist
RUPTURE – Cum in the Milk Bottle/The Mercenary
INFEZIONE – Condannati a Morte
HEART ATTACK – From What I See

Punk Kill from Mat Elder
UPSTÄB – Bag Fluffer
GISM – Anthem

GC Money Scrilla Sacks
SPIKE IN VAIN – Children in the Subway
NO TREND – Family Style

Awful Shite from Tom
GRUDGE – Captain Straightedge

Richard’s Big Pimpin’ Playlist
OBNOX – Whaddup Young Blood?

Buff McGowski says “Suck It!”
CRACKED CUP – Summer Time
SOCKEYE – Vegetarians Are Wimps
LOS SAICOS – Demolicion

Outro song:
BAD NOIDS – Roth’s Children/Lizard People
“Bonus track”

Maximum Rocknroll #367 • Dec 2013

mrr_367_cvrAnother year is done, so let’s tell 2013 to fuck off with a new issue! MRR #367 is out now! Pennsylvania’s BAD AMERICAN has a lot going on and they are stoked to share the experience of their recent Midwest tour and new album in the works. Garage punkers CONCRETE WORMS talk about what it’s like to be a long-running band in the Serbian punk scene, and Minneapolis’ WAR//PLAUGE tells us how they keep it DIY and keep it punk! Olympia, Washington’s GAG gets wild with us on the start of their US tour—poppers! Realtree Camo! Fog! UK Anarcho punk band THE MOB reminisce about the ’80s anarcho punk scene and talk about their new single, “Rise Up!” and London’s GOOD THROB smash misconceptions about their sound and the ladies in the band discuss how they are received in the punk community. GENERACION SUICIDA from South Central (not East) L.A. get ready for their upcoming European tour, and we get a taste of brutal hardcore attack from East Coasters FORCE-FED DRUGS, who buck the trends and make music that means something to them. We corner New York’s CREEM on their European tour and discuss the culturalization of punk, D-beat raw punx LIFE CHAIN invite us to come visit Halifax, Nova Scotia, and we take a trip to Hungary with a Budapest scene report. Also in this issue, a posthumous interview of post-punk band SAFEWORDS from Minneapolis, TOTAL TRASH talks about keeping punk cute while still having a biting edge, and last but not least, you get a taste of our upcoming queer punk issue with DIY filmmaker Julia Ostertag! All this plus columns, news and the most extensive punk review section in print!

Go to our BACK ISSUES page to order this issue.

Interview: Fred Burns, Director of Basically, Johnny Moped

October 29th, 2013 by

This month I accidentally caught a screening of a new documentary about ’70s English punks called Basically, Johnny Moped. Johnny Moped might not be quite the “lost band of punk” that the promotional material suggests, but their brief brush with fame and suburban glory story is the perfectly bittersweet subject matter for this great punk doc. Frontman Johnny (who describes himself as “82% disabled”) is just one of the cast of characters in this great documentary, a classic example of punks realising success on their own terms, peppered with often hilarious memories of how the real lives (and overbearing mother-in-laws!) of even the wildest punks can get in the way.

I caught up with filmmaker, collector and punk enthusiast Fred Burns (who also happens to be the son of Captain Sensible of the Damned and Rachel Bor from Dolly Mixture) to find out more about the process of making this killer documentary about an all-but forgotten group of suburban avant-punks and their brief flirtation with the big time.

Hi, Fred! Was there a defining point/story you heard when Johnny Moped became a band you knew you had to make a film about?
No, it’s really strange, I can’t remember ever meeting him or hearing about him when growing up! After watching a football match with my dad (his home team from Croydon—Crystal Palace) and a few of his old mates (most of whom are in the Moped film) we went to the local pub and Johnny was waiting for us. I had no idea who he was but he became the centre of attention, everyone was excited to see him.

That day I heard all sorts of hilarious legends of Moped, and I just had it in the back of my head over the next couple of years that I’d like to ask them one day if it would be ok to do some interviews with the band so I could find out the whole story.

When I started researching the Moped story, I didn’t think the whole story would be big enough for a feature, so set out to either make a short story of one of the legends or make a mid length film like my last two, but it just kept getting bigger and bigger. I ended up with a film about 3 hours long which needed to be cut down rather than the other way around!

Director Fred Burns and his dad Captain Sensible

Director Fred Burns and his dad Captain Sensible

How long in total would you say the film took to make?
I’d say 2-3 years in all, nearly everything done myself but with the help of people along the way. Paul Kelly helped me a lot on the project. I had done so much myself and I had a finished cut of the film but I knew there needed to be a structural change to make things work. I was just so close to the whole thing that I couldn’t think of ways to change it. Paul and me went to stay at his sisters place for four days and he ripped apart my edit, moving sections about and made it flow much better. One example is of a bit that he really made work was introducing Johnny’s relationship with Brenda at the garden gig section, instead of having it as a separate section, that made it all flow well where it hadn’t been before.

The film makes particularly great use of still photos cut to music that gives them a jerky cut and paste movement of their own. Was it a challenging process accessing all the amazing photos and footage your documentary is peppered with?
Most of my work over the couple of years making it was tracking down fans, friends and former members of the band and asking if that had anything, any pictures at all of the band. I came across amazing things eventually but took a lot of time. I even asked magazines and local papers to write bits letting people know that I was making the film and after Moped and Croydon related stuff. The bit I was least expecting to find was the footage Donn showed me from the Roxy. That was an amazing find, really great to have that in the film.The footage of Chrissie Hynde with the Mopeds was another amazing find. There were no pictures or anything and then suddenly a guy called Simon Holland told me that he made a film in ’77 and says there’s a few seconds of 16mm film of Chrissie on stage used within it and I was free to use it. That was a long wait trying to get hold of it to see it, and it’s such a short bit of film, but without it my film would have been weaker for sure. There are so many examples of that.


The thread of Johnny and Brenda’s troublesome but enduring relationship that runs through the film makes it feel equal parts working class punk rock love story and music doc. Do you think your personal connection to the subject matter made it easier to bring out the emotions and truth from the folks interviewed, or is this just the craft of a good interviewer?!
Haha, I don’t know about my interviewing skills! Johnny was very open to talk about everything. No one in the band had heard the story of how they got together before and it’s actually quite touching, he obviously really loved her from the moment he saw her and it’s amazing they’re still together today with him looking after her at home. I think the band obviously trusted me to make it as they all knew me as a child and know my dad and everything. It definitely would have been harder to make it ad I not known them.

Finally, could you give me a little bit of background about your other film work and what led you to Basically, Johnny Moped?
I originally wanted to be an animator but that developed into documentary when I was about 16. I really got into watching documentaries in the early noughties. I didn’t really attempt making documentaries until at film school, but I knew by then that that’s all I wanted to do. Everything changed when I saw the films by Alan Berliner really. I just thought they were so perfect and stylised and wanted to do something like that, he also used archive really cleverly and inspired me to start playing with archive too.My first attempt at some sort of documentary as a film called As I Was. Luckily my dad had a friend who came over with a camera when we were kids. When we were older my dad got a video camera too, I had loads of videos and started telling funny anecdotes of things I could remember about growing up, using all the home movies to visualise them. My final project at university was Forget Cassettes? which was basically a homage to an audio format I had grown up with and had started using again. I found a boombox and charity shops were throwing out tapes or selling them really cheap, while news reports said blank cassettes were not being sold anymore. I went on a journey to capture loads of personal stories about the format and all the different elements to it that touched (for good or bad) people’s lives.

I’ve made a few short films in between, but the last longish (35 mins) film before Basically, Johnny Moped was about collectors. I had been collecting other peoples home movies on Super 8 and had started to get a little addicted to it, so I began researching collecting. For the film I met up and filmed lots of different collectors and ways of collecting for the project, which apparently is pretty much 50% of the population!

Some of these collectors had amazing collections. The most memorable for me is Ron Geesin, who orchestrated Pink Floyd’s Atom Heart Mother. He collects adjustable spanners, which sounds very odd on the face of it, he has an outhouse dedicated to them, with an electrolysis setup for removing rust, a workshop for cleaning and greasing them and a storage room full of racks and draws, but when you hear him talking about why he collects them and the complex differences between such a simple tool and the history behind them, it all makes sense, and also the fact he’s able to laugh about the whole thing is really great too. That film ended up being quite a light hearted and humorous look into the world of people who become obsessed with objects and sets but in so many different ways.

You can find out more, download the film or find out about screening it where you live at basicallyjohnnymoped.com.

Monday Photo Blog: Junior Davila

October 28th, 2013 by

Let’s get in our imaginary collective tour bus and head over to Lima, Peru for this Monday Photo Blog. Junior Davila has sent us four action-packed shots in living black-and-white of happenings in that city—a couple band photos and some action out on the floor. For more from Mr. Davila, check out his flickr page here.

Desarme at Salon Imperial, Lima, Peru on July 2010 (photo by Junio Davila)

Kissing in the pit, Partido Socialista, Lima, Peru on August 2013 (photo by Junior Davila)

Morbo, Partido Socialista, Lima, Peru on August 2013 (photo by Junior Davila)

Carlos Tatueshko, San Martino Fest in Lima, Peru on September 2013 (photo by Junior Davila)

Send your tour photos, bands that have come through your town, the best of your local bands, etc. to: . Include your name, a link to your website (or flickr, Facebook, or whatever), and the band (or subject), date and location of each photo. Just send your best photos — edit tightly. Three to seven photos is plenty, and it’s best to send pictures of different bands. Please do not send watermarked photos. Please make your photos 72 dpi and about 600–800 pixels at the longest side. Not everything sent in will be posted, and a response is not guaranteed, but we do appreciate all of your contributions. Feel free to submit more than once. Thanks!