The return of Dengue Fever, Senon Williams art update, and Burger-A-Go-Go


I’ll never get sick of sharing the story of how I met Senon Williams. After hearing what sounded like a far-out, psychedelic, Cambodian garage rock jam on KXLU while driving across town from my home in Silver Lake to the Giant Robot compound on Sawtelle, I called the DJ to find out the name of the band. He said it was a demo from a local group called Dengue Fever, and that Senon wouldn’t mind him giving me his name and number. I went on to stalk the band and write its first article in print, followed by various pieces on the band’s milestones.

After the magazine ran its course, we’ve kept in touch. Dengue Fever played one of the Save Music in Chinatown benefit shows that my family went on to start organizing and Senon painted a poster for us. Then we followed his trajectory in art, which has included multiple shows around town and a beautiful book.

When it was announced that the band would be joining the upcoming Burger-A-Go-Go tour, it was a perfect excuse to catch up once more.


Dengue Fever has been out of the headlines for a while, but now you’ve got this Burger-A-Go-Go tour coming up. What are some of the interesting things you and your colleagues have been doing during your break?
We all been doing a bevy of life living. I been painting, traveling, and playing music. Paul has been recording a bunch of his own music and doing sound design. Ralicke plays with everybody under the sun and swims with the fish in the Pacific the rest of the time. Zac is a mystery but I know he has been making a record with a friend of his. Ethan’s family is growing and he practically has a zoo of exotic creatures at his house. Nimol has been traversing the country playing traditional music in Cambodian supper clubs.

That being said, we are always recording and experimenting. We are enjoying different processes of songwriting, in the past we have simply stayed to our instrument. These days we have been thinking more to what the song needs and care less who plays it. We are unhurried with our ideas and have the feeling to evolve and embrace the ethereal.

There’s new music in the works? Without getting too detailed or giving anything away, can you further describe this direction, style, or vibe that you’re sensing.
We are slowing it and being minimalists. Making Nimol’s voice be the center and not using traditional drum kit as often.

I think it’s cool that Dengue Fever is part of the Burger family, and I give the label credit for having a roster of old and new punks, psychedelic groups, garage rockers, lo-fi bands, etc. and breaking down so many barriers to support just plain cool music. How did you get into the fold?
I don’t really know. But my guess is way back when our manager Josh developed a friendship with them and they were into our music. Then one of them suggested we do a Best Of album on cassette with a ton of songs on it. After that, they have been licensing all our albums for cassette release.

Pasty’s Rats, Feels, and The Coathangers are great and I can’t wait to check out the other bands! Which ones in the Burger-A-Go-Go lineup are you particularly excited about joining?
I am mostly excited about all the women in the line-up. It is going to be great, I always have a better time in mixed crowds. I think the deep vibes will spread.

It must be hard leaving your family, but is going on the road with the band still fun for you? Do you ever miss it during a long hiatus between records and shows?
Yes, I love to tour. We are still a band because we respect each other and love each others company…and cool shit just keeps happening.

And I will miss my family. We only go out for short stints or, if there is a long tour, there is generally plenty of time in between. When I am home I don’t do a 9-5. I am with my family with my time, heart, and soul. But I think the love is enough to bridge the gap when I’m gone.


Aren’t you in another combo besides Dengue Fever now? What’s up with that?
I play with Mark Lightcap, Steve Hadley, and Jason Yates. We have no name, we have no plans, we play all the time, and let the music flow out of us. We don’t write songs; deep melodies find their way into the outer space where we reside. We record everything, then I edit all the magical spots together… And presto! A song.

We have recently played a few shows performing Acetone songs. A band that ended 15 years ago to support a reissue of music and a biography book. Mark and Steve were in that band. We have no plans to continue with Acetone music but will play those songs if invited… It will be peppered with far-out excursions if not entirely.


Finally, what’s going on with your art? Now that your book has been published and is getting some distribution, are you taking a break? Working even harder?
I have been seriously making paintings for a few years. I have had several solo shows and been in a bunch of group shows. I find painting to be a very important part of my life, and I am becoming more prolific and the scale keeps growing. I will be painting until I can’t.

My book published by Hamilton Press is exquisite with a masterful design by Green Dragon Co. and the beauty of it has got me stunned. I am still in dis belief.

I also just completed my first lithograph with Ed Hamilton in an edition of 20. There will be a reception to celebrate the release of my print March 10th at Odd Ark Gallery.


Catch Dengue Fever up and down the West Coast from mid-February through early March. I think I’ll go to the March 3 show at 1720 in Central L.A. and then say hi to Senon at Odd Ark Gallery in Highland Park on March 10.



Kristin Kontrol presents Color + The Kids at Girlschool 2018


When an acquaintance named Kristin asked me if I knew any little kids that would want to play a benefit show with her, it wasn’t totally shocking. We had mutual friends, I had written an article about Sandy from her old band Dum Dum Girls, and I’d seen the group many times–a bunch of them with my daughter and two nieces. But the idea of gathering random children and getting them ready to play Anna Bulbrook’s Girlschool festival at venue like the Bootleg in just two weeks was ridiculous. And cool. Of course, Wendy and I volunteered our 9-year-old daughter who goes to a ton of shows for her age and suggested our 7- and 11-year-old nieces who not only love music but also have a music studio in their backyard that my brother-in-law operates. Everything lined up: the cousins joined forces and Carlos became a second coach. My sister Angelyn, an organizer.


Kristin posted on social media to recruit more kids and, soon enough, there were nine or ten children in the mix. Some had played instruments before, but none were prodigies or had experience being in a band. Following an introductory get-together and the first official practice, my sister and I independently invited a 13-year-old friend of our girls who could play some guitar, as well as a 4-year-old dancer with gusto, and the lineup was complete.


After only four practices plus a few extra sessions the side, the kids not only pulled off the set of one Dum Dums song and some cool covers (with help from Kristin and Carlos) but according to the LA Times were show stealers. Kristin inviting Bethany and Bobb from Best Coast and Karen O from the Yeah Yeah Yeahs to be special guests didn’t hurt, but it was also a big risk for her to use those favors. What if the band of children totally stunk? They didn’t and the crowd loved it. Especially us parents who saw the band start off like the Shaggs trying to figure out Velvet Underground jams.


Right on the heels of Kristin Kontrol presents Color + The Kids at Girlschool 2018, I decided to ask my new friend some questions about the experience, and followed up with Anna from Girlschool as well.


MW: After choosing not to play a proper Kristin Kontrol set for the Girlschool festival, what inspired you to get a band of random kids to play with just a couple of weeks to prepare? That was an insane idea.
KK: Ha! I had a gut feeling pulling the spotlight off myself was the way to go. Sometimes you find yourself in a weird transitional spot and it just didn’t feel like the right use of my energy to try and cobble together a KK lineup/set. I love kids and it seemed much closer to the nature of Girlschool to work with them.


MW: Us parents were blown away by how well you handled kids with minimal to no experience being in bands. Are you practiced in teaching children, relaxation techniques, or conflict resolution? Some of those kids were real divas!
KK: I honestly think I had a bit of a buffer because the parents and kids revered me a little more than just a teacher. But both my parents were public school teachers, and my mom actually taught parent education and early childhood development stuff, so I had a really great role model my whole life as well as being a pretty mellow/calming person. I was super impressed with the kids though on their own merit, and if any little issue arose, having the parents at rehearsal was so helpful in that I didn’t really have to occupy a role too much outside of “weird fun art aunt” …


MW: Anna, what was your response to Kristin wanting to play with random children after declining to play a solo set?

AB: I thought it was tits-on. Perfectly in the spirit of Girlschool. Loved it.

MW: If you had a master plan in your head, how closely did reality follow it? Maybe you just went for it with a positive outlook?
KK: Definitely more PMA than game plan initially. But I took the time to think about it simply and determine the key goals, which essentially were successfully playing a few songs and having fun doing so, which meant picking songs that were accessible both skill and recognition wise. We definitely sounded like The Shaggs at our first rehearsal, so I tried to reassess after that, scaled back the songs, took some individual time with a few of the beginners, and voila!


MW: Anna, did she present a detailed vision or was it vague? What were you expecting and how did the actual show compare to that?

AB: I knew it would be cute, and fun for the kids—but I was mostly hoping that the kids would have that alchemic “lift-off” reaction to performing. The experience of performing, when it connects for you as the performer, especially as a *band,* is like no other. And they sure as hell did. The whole thing was more fun, more inspiring, and more life-giving than I had hoped. People felt it.

MW: The kids got so much out of the experience, and we parents loved supporting it. Kristin, I’m wondering what, if anything, you got out of it?
KK: “Must be the colors and the kids that keep my alive, cuz the music is boring me to death.”


Sometimes, Wendy and I try to figure out how our daughter gets to do stuff like be in a band with Kristin, play with Bethany and Bobb, and sing with Karen. (And Eloise accompanied Lois less than a week before!) It’s true that I encountered all of the musicians through the magazine we helped make years ago, and that might have had tilted the odds for us, but each of our decisions leads to the opportunities we get–and then it’s up to us to take them. What if I never told my friend Eric that I also wanted to make a zine about Asian stuff or Wendy (just out of art school and not my girlfriend or wife yet) never decided to spend nights and weekends designing it? What if Wendy and I never organized that first Save Music in Chinatown benefit concert for our daughter’s school even though we had no experience or business doing so? What if we quit right afterward because it was too much work? What if I told Kristin that we were too busy with our next event to take part in hers? Sometimes, you just have to go for it and those actions can affect a kid’s future as much as a cool benefit like Girlschool, which pushes for equality and empowerment in music and culture, can inspire it.

Keep in touch with Kristin at and keep an eye on, too. Then make time to do things that are fun and important to you!

Save Music in Chinatown <3 Xu Ziyi


When we started our Save Music in Chinatown all-ages benefit matinee fund raisers five years ago, the idea was to build on the neighborhood’s punk rock past to support the local public elementary school’s music program. But a lot of other unintended stuff happened, too. Kids that can handle it have been exposed to underground culture and empowered by DIY. A real community of friends and supporters has grown around the shows. My family, which has roots in Chinatown, has been sucked into its culture and activism.

And a couple of months ago, we made a friend when Xu Ziyi sent a query asking if she could use our project as a subject for her graphic design class at ArtCenter. The fifth-term graduate student from Suzhou couldn’t have known that Wendy is an alum of the Pasadena art school or that both of us have a history of working with and supporting art school students and recent graduates. But, of course, we invited her to our home, opened up our archives, and suggested she draw with Eloise–and not just any kids in Chinatown.

A few weeks ago, we saw Zi present her final project and were blown away. The raw-but-powerful oversized two-color zines recalled vintage Search & Destroy and Slash mags and the mocked-up compilation LP was a perfect fit next to influential Dangerhouse’s Yes L.A. compilation and Flipside’s Rodney on the ROQ records. The posters, buttons, and patches further reinforced my feeling that while I was too young to catch the Germs, Dils, Weirdos, Bags, and Go-Go’s at the Hong Kong Cafe in the ’70s, we’re making our own golden age by bridging my favorite subcultures of L.A. punk and mostly blue-collar, English-learning immigrant kids.

How could I not ask our new friend about it?


What did you expect when you approached us about using Save Music in Chinatown as the topic of your graphic design project? What were you hoping for?
My biggest fear was that I was a stranger, you would be busy, and that you would not be willing to do it. In my mind, there was only a 10 percent chance you guys would reply. Really! But it was such a surprise that L.A. punk bands had shows at the Hong Kong Cafe. The craziness combined with Chinese traditions is so cool and I wanted to make the project work. My biggest hope was that we could just meet and talk about it.

Growing up in Zhangjiagang, what was your impression of punk rock?
I did not really know punk music. In a traditional education or family environment, we are not exposed to it in China. So, for me, it meant rebellion: people yelling instead of singing and being against the norm. But then I listened to punk at your house and liked it! Especially young Chinese bands like Birdstriking and Chui Wan. They are pretty cool—the music, the design, the aesthetics. I want to know more about them.

Did the project develop and turn out as you expected?
In the beginning, I could not imagine what it would look like. All my design solutions came from drawing with Eloise. She is so talented and so sweet and always wears a smile on her face. I am a pretty shy person, actually, but Eloise made me feel comfortable and her energy is so powerful and positive. Such a lovely girl. For example, Eloise showed me her Chinese practice sheet when we decided to do collage. I immediately thought, “That’s it! Castelar is a school that not only teaches English but also Chinese.” The grid that primary school students use to practice Chinese became part of the identity system.


Can you tell me more about how the project took shape?
Can you imagine every Saturday drawing with Eloise, listening to punk records, and being shown cool stuff? All of Eloise’s drawing are amazing, effortless, and so unique. She inspired me a lot. Also, you and Wendy showed me a lot of cool album covers, design books, and movie posters. Those inspired me, too. I hadn’t been home for more than a year, but it felt very warm–like family. For me, you guys have become like relatives and I really appreciate it! That was the best thing ever, and I don’t think it will ever happen again.

When did you start to have a vision of how the project would turn out?
The hardest part was the first couple weeks when I was not very clear what I wanted. It was hard to let Eloise to draw for me. I think it was around the sixth week that I felt a little stuck trying to connect punk rock and Chinatown. Then I thought about how I feel about Chinatown and what I like about it. Suddenly, I remembered our first assignment was to go around the neighborhood and look for inspiration. To get to know the place. At that time, I bought a lot of traditional stuff. This was really helpful. Then I knew what I wanted my project to feel like and what I wanted Eloise to draw for me. The beautiful drawings and designs were for Chinese New Year, but I was seeing those things differently. Although I grow up with them, I hadn’t been to China for a year and was seeing those things in terms of design. It was cool and different, and it inspired me a lot.


What sorts of comments and suggestions did you get from your instructor and peers as the project evolved?
Actually, before we met I did some posters just to get going and see if I could catch the feeling of punk rock. When I showed the class, my professor said it was too easy for me to do what I was doing. Then they saw Eloise’s drawings and said, “That’s cool. You should do workshops with kids and use their drawings.” I totally agreed and got excited about it. That week we met, and the second time we met was at your home when we starting doing it. It was so amazing!

How did the newspaper come to be?
I struggled with the newspaper. My professor said the titles for each show were confusing and unclear. I got some fun words from the shows, and some just had quotes or just images. I was thinking of how to include dates without being boring, and then the Chinese traditional calendar came to mind and then  I designed the dates like that to clarify the different shows. I am very glad my professor guided me on what wasn’t clear, because it can be hard for a someone that close to a project to see a problem!

We were so happy to attend the review, but I felt like I blabbed too much about my family’s experience and you didn’t get to say enough about your work! What were some of the things that you learned or got out of the project?
I am so happy you guys could come to my final and make it wonderful! It was a special project for me, because usually you do it on your own and most information comes from the internet. This was my first time to work with real people. It didn’t feel like client project, I was surrounded by super nice people, a super-talented artist, and music! You guys gave me inspiration and fed me, too. The design was all driven by all those experiences, which I think is much powerful and special than what I could have done on my own. I made good friends. I became more brave. I just loved it and I never want to give up!


Above: Zi with the zine and Lois, who happens to be visiting from Olympia with Eric and will be playing at Save Music in Chinatown 14 on Sunday, January 28. Hope to seeya there!


Say oink to Jeff from Pig Baby Records, home of the Schizophonics


With Pig Baby Jeff, Lety and Pat from The Schizophonics, and Mighty Manfred from The Woggles at The Redwood (July 1, 2017)

Anyone who reads this humble blog knows how much I love The Schizophonics. I’ve been stalking them for since seeing them play with El Vez at Bar PInk in 2013, and last spring they played our twelfth Save Music in Chinatown benefit matinee. Like most music lovers, after buying the San Diego band’s amazing 10″ EP, I got to wondering what the oddly named and previously unknown record label was all about. Where did Pig Baby come from? What other cool bands are on its roster? That mystery was solved when The Schizos played the Redwood in July. There was Pig Baby’s main man Jeff Byrd, wearing a Swami Records T-shirt, saying hi, and turning me on to his next few releases including the aptly named “invincible blues” of Sir Coyler and Liquid Sky-era new wave of Light FM.

Plenty of somewhat sane people form bands out of their love for rock ‘n’ roll but what sort of lunatic dives embraces the headaches of starting a label? Here’s Jeff.

As a fan of music, what are some of your favorite labels of all time and what do you dig about them?
There are so many, and it’s not just the labels but the people that run them. In short, some of my favorites are Billy and Miriam of Norton Records, who have uncovered and dusted off some pretty amazing rock ‘n’ roll discoveries as well as put out some really odd and off-the-wall music. Pioneers like Greg Shaw of Bomp! for records and the zine. Where would underground music be without that guy? Long Gone John of Sympathy–the sheer volume of great records he put out by himself, out of his house is remarkable. I’ve always admired Jeff and Ian from Discord for their integrity and the way they do things. Growing up a punk rock kid in Chicago, Touch and Go and Wax Trax were also huge in my early life. Of course, all the classics like Chess and Stax. I still try and go to one or two record swaps a month, and love discovering new music. Doing that on the computer doesn’t do it for me. It seems so stale.

How did Pig Baby come to be? Why the pig? Why the baby?
After telling me more than ten times, my friend Kevin got me to see The Schizophonics out at Pappy and Harriet’s in the desert about two years ago. I have been going to punk and underground shows since 1982 but I was totally blown away. Pat Beers is one of the best front men I have ever seen in my life. Watching that guy really inspired me and made me feel excited about rock ‘n’ roll. We became friends and, seven months later, they played my annual barbecue. I think they are a really important band and I really wanted to help them. After a dozen beers, I asked them if they wanted to make a record. That’s all it was going to be: just to put out one record and help them.

A few weeks later, I was having lunch with Deke Dickerson and telling him about doing the record. He said, “Any time you are in a position to contribute to the arts, I think that’s really important.” He said it with so much conviction, a light went off in my head and I thought, “I’m going to start a record label.” I knew I didn’t want to do it by myself because that would be no fun, so I asked my pal Kevin if he wanted to do the shipping and admin. His wife Emily is really talented with graphics and computers, too, and they seemed like a great team to partner up with. Then Kevin and I were having a meeting with Lety from the Schizos about putting out their record, and I was really impressed with her no BS attitude and her business hustle. I knew she’d be a great asset for the label and her husband Pat is super creative, so we all got together, had a meeting, shared some ideas, and Pig Baby was off and running.

As for the name, I used to enter barbecue competitions and I have this little creepy doll dressed as a pig that became my team’s mascot. Pat Beers was doing the artwork for the Schizo record, called me, and asked, “Do you have a name for the record label? I need to put it on the record.” I didn’t have a clue. I looked around my den and the creepy little pig baby was looking right at me. I said, “How about Pig Baby?” That’s how it went down. It happened that fast.


Schizophonics at Save Music in Chinatown 12 (May 7, 2017)

Your bands are from all over the place! What do they have in common and how have you met them?
It has all happened really organically. I was at my friend Laura’s wedding, ran into an old friend Josiah, and he’s in this really cool, kind of new wavy pop band Light FM. I asked him if he wanted to do a 7″ and he said sure. That was the second record. I asked my friend Chris up in Seattle, who has some experience with press and radio, to help me with writing the Schizo press release. He’s in Sir Coyler, he sent me some his stuff, and we all loved it. That’s how the third record came about. I met Steven El Rey at a Rosalyns show. He also plays with the Little Richards, Pat and Lety’s band with El Vez, and he came up to my house and played me some of his jams and that’s how that record came about. The Schizos played a festival in Orlando and Lety called me, raving about this band the Woolly Bushmen. She said, “They’re amazing live and we gotta get ’em on the label.” Thus, record number five.

My good friend Gary from Deadbolt said he and Harley would be up for reissuing some of their classic ’90s records on vinyl, so I called their old label Cargo and we’re making it happen. That’s going to be a fun project since those records were only put out on CD. We’re also talking about putting out some new stuff by them.

We kind of have a system where we all vote yes or no on a band. I figure there’s safety in numbers and, if we all like it, we’ll go for it. We don’t care about genre as much as we care about good songs. Yesterday, I signed a band from Chicago called the Flesh Panthers that I’m really excited about. They were on my friend’s Tall Pat record label.


Schizophonics at Cafe NELA (May 6, 2017)

Now that there are so many Pig Baby bands, will there be tours or a fest or something?
Yeah! The Schizos and Woolly Bushmen are both great live bands, so it makes sense for them to tour together. They’ll be doing an eleven-date West Coast tour in January that’s already booked and then hit the East Coast in the spring. I’d like to have those two bands tour the world together. People would leave feeling they got their money’s worth! Lety and I were also talking about doing a festival at some point in Pasadena or San Diego, but that probably won’t happen for a while.

This is a real labor of love! Do you have an entrepreneurial background and business sense that you are suppressing to release cool music?
No, not really. We are all huge music fans and we are learning as we move along. The other day, I told Lety, “We are building the plane and flying it at the same time. Let’s hope we don’t crash it!” I’m a tenth-grade dropout who has just worked my ass off all my entire life. I work hard and try to figure shit out as I go along, I have built a couple companies that I am proud of and I really enjoy taking ideas from nothing and turning them into something.

Pig Baby will probably be my last hurrah. We have made a few mistakes, but it’s to be expected. I’m hoping to give it a good 10 years and then turn over the company to the other four partners when I hit 60. The music business is so crazy and uncertain at this point in history, so who knows? If we stop making records that means we ran out of money and are broke, ha ha. But we definitely want to put out quality over quantity. Sound is extremely important to me, so we have teamed up with Dave Gardner over at Infrasonic mastering. He has done such a great job of mastering and cutting all our records to vinyl. When people pay money for a Pig Baby record we want to make sure they are getting a great product.

Schizophonics at Cafe NELA (December 17, 2016)

Any other news we need to know about?
Actually, last Friday I was talking to my friend John Reis from Rocket from the Crypt. I have this this crazy idea where he and Deke Dickerson make a record together, kind of like a modern-day version of Bo Diddley and Chuck Berry’s Two Great Guitars. Their styles are so different but hugely influential to so many guitar players. I think it would be a great record if we could pull it off, and definitely a dream-come-true for me because they are two of my all-time favorite modern-day rock ‘n’ roll warriors. After about four tequilas, I built up the nerve to ask John and he said yes. Then I texted at Deke at 2 a.m. and he said yes. Let’s see if we can get them together and make it a reality.

We are also going to start working on the second Schizophonics and Woolly Bushmen records, which will both be on Pig Baby. I’m flying to Orlando the first week of October to start listening to some Woolly demos and the Schizos are gonna do a recording session in Spain when they are on tour. (The Schizos are headed to Europe for a month to tour their first full length, Land of the Living, which just came out on Sympathy for the Record Industry).

The Flesh Panthers are also gonna start recording. They have one song that’s done and it’s really amazing. I can’t wait for people to hear it. We have a lot of other irons in the fire and 2018 is gonna be action packed. Also, we just singed a one-year exclusive worldwide distribution deal and it’s great to know our records will be in stores all over the globe soon.

Hopefully, Pig Baby will also be able to contribute to your Save Music in Chinatown project, as well, Martin. I just wanna say all of us at the label think that is such a great thing that you do for the kids and if there’s anything Pig Baby can do to help just let us know. Maybe once we are more established, we can get some bands together, make compilations, and donate all the funds. I think that would be really awesome!


Get your Pig Baby goods at your favorite record store or and find the latest news on tours and releases at

The Year Jawbreaker Broke a.k.a. Why my family braved the elements, port-a-potties, and bros at the Riot Fest

Going to huge festivals can be a bummer: huge stages and barriers so the bands you want to see are mere dots on the horizon, disgusting port-a-potties, bros everywhere, and it’s you against the elements all day long. Still, my wife, daughter, and I flew out to Chicago to see Jawbreaker’s first proper show after more than 20 years.

I was at the right place and right time, and always made a point to see the punk band from L.A. play dives like The Anti-Club, Raji’s, Al’s Bar, Club 88, Jabberjaw, the pizza joint at UCLA, as well as my friend Eric’s backyard, not to mention the occasional pilgrimage to Gilman St. Over time, I became become friends with Adam and when it was announced that he, Blake, and Chris were finally getting back together–rising from the ashes of burning out decades after a much too brief and painful but beloved existence to headline a gigantic festival thanks to generations of music lovers who discovered them too late–how could we miss it, even if it was all the way out in Chicago?

Of course, it wasn’t just Jawbreaker. Tucked into Riot Fest’s massive lineup on Sunday were killer sets by Engine 88 (featuring Dave who worked Lost Weekend Video with Adam), Upset (who has played with Adam’s other band California a few times, including once at a Save Music in Chinatown show), That Dog. (friends who played with them at Jabberjaw a few times), and Versus (friends of Jawbreaker including James who worked at Lost Weekend as well). Too bad J Church couldn’t have been there but I wore a T-shirt in Lance’s honor.

We missed Adam’s sister’s band The Voluptuous Horror of Karen Black because we couldn’t pull ourselves away from seeing our friend Rachel Haden with That Dog., but it was pretty much the Jawbreaker drummer’s All Tomorrow’s Parties and Fantasy Island smushed together, and it was no problem for us to walk right up to the barricade to see most of Jawbreaker’s support from as close as possible. (Sorry, Best Coast, Beach Slang, Kitten Forever, TVOTR, Built To Spill, MIA, GWAR… We’ll catch you later!)

We saw plenty of friends on our side of the barricades, too. My pal Scott, who I met way back when he was in J Church but kept in touch with through our love of comic books, happened to be Blake’s guitar tech and brought us many cold waters from backstage. Jon and Ron played much bigger parts in Jawbreaker’s West L.A. days than me, said hi, and hooked us up with bottles of water, too, and I regret not taking a picture with them. Wendy, Eloise, and I also introduced ourselves to Adam’s kids, gave copies of our new Save Music in Chinatown zine to Lauren from Upset, and met up with our friend’s sister Veena who flew in solo from the Bay Area to finally see Jawbreaker. Hardcore!

After all that plus some mediocre food, I was pretty stoked and relieved that 9-year-old Eloise could handle the growing, thickening crowd during Dinosaur Jr. and Prophets of Rage and even make it to Jawbreaker going onstage–and then ride my back during the entire brilliant, cathartic, and tight-as-shit set from “Boxcar” to “Bivouac” in the middle of the sweaty and swaying masses. With so much on the line after so much time off, the band totally could have flamed out but what a payoff and how beautiful was it to see them playing their guts out with Adam grinning like Billy Zoom the entire time until demolishing his drum kit?

While the Windy City was already of our favorite places to visit, it was pretty awesome to catch up with Adam and say hi to Blake in front of their hotel after having lunch with Scott the day before. And for James to approach us at the Art Institute and then lead us over to where the rest of Versus was meeting up. To spend time with our dear friend Tim, a fellow Jawbreaker fanatic who has hosted my family at his cool film festival and have him take us to donuts and drive us to Chinatown.

So many of us gathered to see one of our favorite bands and some of our favorite people finally get their due. How rare is that these days and how often does it happen someone or something you literally know and love? And how cool was it for my family to be present at that crucial moment of release and redemption? I loved all the songs before but now they are a soundtrack to something completely different.

We got more than stupid T-shirts out of the concert. In this messed-up world, the good guys won for once and we saw it happen from the trenches.

p.s. Don’t miss the L.A. debut screenings of Don’t Break Down: A Film About Jawbreaker at The Vista in Los Feliz on Wednesday, October 4. See you there!




Save Music in Chinatown 12 preview with The Alley Cats

The other day, someone asked me how we have persuaded so many legends of L.A. punk to play our humble little Save Music in Chinatown benefits: Chuck Dukowski Sextet, Mike Watt & The Missingmen, The Gears, Adolescents, Channel Three, FourEyedFour with members of the Flyboys, The Crowd, Ford Madox Ford with Chip from the Dils, Rikk Agnew Band… I still can’t believe my nine-year-old daughter gets to see bands like that.

In this case of our upcoming show on May 7, how did we get the original Dangerhouse punk band the Alley Cats to volunteer their time? Well, I’ve attended all of their shows at Cafe NELA over the last year like a groupie, had mutual friend Laurie Steelink introduce me to surviving/lifer member Randy Stodola while buying a T-shirt at a solo show in San Pedro, shared zines and flyers at other shows, and invited them to previous Save Music in Chinatown gigs. But it probably didn’t hurt when Tony Adolescent re-introduced me to Randy online, saying that The Alley Cats would be a perfect fit for one of our shows. I agreed.

So there you have it: Shameless, endless groveling and friends with big hearts.

Here’s a short Q&A with Randy, April Cady, and Matt Laskey to get you excited about the twelfth Save Music in Chinatown show (with Tabitha, Schizophonics, and My Revenge featuring Hector from The Zeros, as well as a reading by Alice Bag), going over The Alley Cats’ history in Chinatown and L.A. punk as well as its current lineup and new music…

MW: Got any thoughts about coming back to play in Chinatown, right across the plaza from the old Hong Kong Cafe and Madame Wong’s?
RS: Kinda funny but we did our first show at Madame Wong’s with The Zeros and our first show at the Hong Kong with The Bags… I’m excited for Matt and Apryl to be able to play there. It’s a cool part of town and it’ll be a new experience for them. I think it will be fun.

MW: Was the Alley Cats’ first show really with The Zeros in Chinatown?
RS: No, it wasn’t the Alley Cats’ first show. It was the first punk show in Chinatown. We played the first punk show at Madame Wong’s and later the first punk show at the Hong Kong. Actually, we were the first punk band to play a lotta places.

MW: You also played the infamous Elk’s Club Riot show with The Zeros. Was it as intense as people say?
RS: Yes. As the band before us was finishing, Dianne and I were sitting on the wide stairway that was packed with people and lead from the lobby up to the theater. Suddenly, a phalanx of police in full riot squad gear lined up in the lobby and, on signal without warning or provocation, suddenly charged up the stairway slamming people with batons and heavy flashlights. Dianne and I started running up the stairs as soon as we saw the police show up, so we were able to escape ahead of the onslaught, unharmed. But some people had broken bones and many were bloody.

I have never seen a group of peaceful people who weren’t protesting or doing anything at all suddenly be attacked in that way, without even a hint of warning. And since they did not warn the promoter or anybody else that they were closing down the show, the security thought that all these people suddenly running up the stairs were trying to crash the show and tried to hold them back. So people were trying to escape being attacked by cops on one side and were being stopped the hired security on the other.

The cops’ excuse was a claim that an drug undercover agent at the show had been verbally threatened by someone. I guess they needed an army of police to beat and attack everybody who happened to be there to rescue him, but the kids (there were something like a thousand people at the show) quickly reassembled in MacArthur Park and started throwing bottles and rocks at the cops (who, according to the media, eventually numbered 500) who were chasing them around. Helicopters flying overhead, cop car windows breaking, people yelling and screaming, loud bullhorn announcements over and over declaring that everyone had to leave the park or be arrested—it went on for hours.

MW: I love that you have not only regrouped the Alley Cats, but have such great chemistry and play often. Can you tell me how long this combo has been playing together?
RS: We have been playing together a little less then three years, I think. Both Matt and Apryl are wonderful talented people, and I am blessed to know and play music with them.

MW: Matt and Apryl, what’s the best thing about being an Alley Cat?
ML: Best thing is playing in a band I absolutely love; it’s all I ever wanted to do.

AC: I guess my favorite part of joining the Alley Cats would be playing music with good friends that come with meeting Randy and Matt, and all of the other people we play with and all of the adventures we have been through. There have been many adventures.

MW: Is it true that you are both transplants from the same hometown in Pedro?
AC: That is not entirely accurate. Randy and I both lived in Fargo for a part of our lives. Neither of us were born there, but it is a pretty cool coincidence.

MW: It seems to me like you sing in your own, cool style. Do you get some direction from Randy or do you just go for it?
AC: Alley Cats style singing is not very natural for me but I just try to go for it.

MW: Matt, do you try to stay true to the recordings or do you just go for it?
ML: I try to stick to the recordings, I love the songs, so why try and change anything? They’re awesome how they are.

MW: There are so many Alley Cats and Zarkons songs to choose from, and I love the sets you’ve been playing. How did the Avengers cover get in there?
RS: Always liked “We Are the One,” and it seemed appropriate to come after “House of Cards,” which is a new song. Actually 40-50 percent of our set are songs that were never recorded by the Alley Cats.

MW: Does that mean you have new songs ready to record?
RS: Yes…

MW: Our show is raising funds for music education at the elementary school in Chinatown. Can you share how you started to play an instrument and what it’s meant to you?
AC: Music is the most inspirational part of my life. I played in the high school marching band and I enjoyed that. I started playing guitar and bass when I was in high school, too, and it has always been something for me to relieve anxiet. I wish I could do it all the time. I love seeing young people getting excited about music and am looking forward to our show to raise funds for music education in Chinatown.

RS: When I was about 5, my sisters who were 7 and 9 years older then me, both got guitars and a book with first-position chords. But they never played them, so I borrowed them and learned the chords from the book. Not having any songs to play, I wrote my own. No record player, no song books, no one else to play music with or teach me—I didn’t have much choice isolated out in the country in North Dakota and then Upper Michigan. But I think that maybe that made it funner for me, just playing for myself many hours a day, alone just for fun. And it is still fun. It’s hard to quantify what it has meant to me, but I was lucky to have an instrument available to play at such a young age. Can’t play music unless you got something to play it on.

Follow the band at and get tickets for Save Music in Chinatown 12 at

Save Music in Chinatown 12 preview with The Schizophonics

The Satellite, Los Angeles (February 22, 2017)

I distinctly remember the first time I saw The Schizophonics. Following the last day of the San Diego Comic-Con in 2013, a bunch of us went to see El Vez’s Punk Rock Review at Bar Pink and holy cow! The opening band was not only a red-hot, garage punk and soul dynamo but they actually played with the former Zero as well. I was in the front row, hoping my dropped jaw wouldn’t get detached by singer Pat Beer’s out-of-control guitar playing. Next, I saw them in Pomona, opening for the newly reformed Drive Like Jehu and they were just as sweaty, animated, and nearly impossible to take a decent photo of. Nonstop rock!

After seeing them rip it up with El Vez and then the Little Richards last summer, I finally got to see the proper lineup in quick succession at The Echo and Cafe NELA. At this point, I started saying hi to drummer Lety Beers and becoming friends with them on Facebook or else it wold be getting a little weird. One thing lead to another, and now the trio is one of two San Diego bands coming up to play our twelfth all-ages punk rock matinee on Sunday, May 7 to raise money for the music program at Castelar Elementary. The other commuters will be My Revenge with Hector from The Zeros–a real plate-of-shrimp development!

This is actually perfect timing, since The Schizophonics just released a 10″ EP and have a full LP about to drop. A perfect opportunity for a quick Q&A with Pat and Lety about their past, the new music, and the Save Music Chinatown cause. Plus bonus answers from bass player Brian Reilly.

Bar Pink, San Diego (July 21, 2013)

MW: The first time I saw Schizophonics was with the punk review with El Vez at Bar Pink! How did that bond form with him?
LB: At some point we made friends with Pony Death Ride, a San Diego duo that knows Robert. They took him to see us at Bar Pink and he really liked us. That is such a huge compliment coming from him, let alone him asking us to play with him. He does a Punk Rock Review that he wanted us to back him up in that’s composed of a lot of his early punk influences. That was the first time we ever went on tour and our first time we ever had such an intricate set to learn. He definitely has taught us to be a better band and taught us so much about putting a show together. He’s our band guru.

MW: Am I crazy or did you spell your name with a T back then? What happened to it? Have you come across people with tattoos with the old spelling?
LB: We DID! There is still a 45 out there on Munster Records with the old spelling. Then we realized there is no T in schizophrenic (and also wanted to get away from being called shitty) so we switched it to the correct spelling before we made more records and merch.

MW: Pretty sure the second time I saw your band was with Drive Like Jehu in Pomona. Do you feel like part of that whole tradition of San Diego underground music?
LB: I don’t see it as underground. We moved here in 2008 and didn’t know much about the music history until we started meeting talking to more people.

PB: That was a real honor because John Reis was a big influence on us when we started the band. His Swami radio show opened our eyes (or ears?) to how much cool unheard music is out there.

Glass House, Pomona (April 8, 2015)

MW: You play so often! Do you keep track of how many shows you’ve played so far? Who plays more, you or Mike Watt?
LB: Haha, they’re in my Google calendar or we’d be so lost!

MW: Your ratio of playing shows to releasing music is freakishly high. Is that on purpose? Is putting the songs on wax something you’re doing reluctantly or has it been a flood waiting to happen?
LB: When I joined this band I didn’t know how to play the drums, so I think some of that has been a learning curve with how to write and play songs to the point where we feel confident enough to record something we are happy with.

PB: The Ooga Booga 10” EP and Land Of The Living 12” LP are a mix of brand new songs and songs we’ve been doing live for a long time.

MW: The new EP is a real ass kicker! How did you split songs between it and the LP? What can we expect?
LB: The 10″ is a few of our older songs that we never really put out properly, along with a couple of new ones that we wanted to put on the Pig Baby release. “2017” was a riff that Pat had been working on that I really liked. I wanted to make sure the Pigs got that one.

PB: The two records have all different songs, and we didn’t want the 10″ EP to be like the songs that were left over after we did the album. So we wrote new stuff for that one until we had enough tunes we were happy with so both records to stand up on their own.

Cafe NELA, Los Angeles (December 17, 2016)

MW: What’s your secret to being on fire every single time for every single configuration (Schizophonics, El Vez, Little Richards, probably a ton of other bands I don’t know about)?
LB: Our favorite musicians and heroes are bands like Little Richard, James Brown, The Woggles, Iggy Pop, The Loons, and El Vez who, when they hit the stage, are like a bolt of lightning. That style of performance is what really moves us as music lovers so we draw so much inspiration from that.

MW: I think I told your about our show—how it’s for music education at an inner-city elementary school, how it is inspired by the punk rock tradition of the old Hong Kong Cafe. Got any thoughts about kids, music, life, and so on?
LB: We love seeing kids get into music!

PB: Music is one of the greatest things a person can have in their life. It carries you through the good and bad times, and it’s inspiring to see young people playing not just because they are the artists of the future, but because they are learning a skill that can give them peace of mind and strengthen their souls throughout their lives.

MW: I’m super excited about having you play our show and getting to see you on back-to-back days starting with Cafe NELA…
PB: So are we! Thank you for inviting us and thank you for all you do!

Cafe NELA, Los Angeles (December 17, 2016)

MW: Brian, can you tell us the best thing about being a Schizophonic?
BR: The best part about being a Schizophonic has got to be traveling and playing new cities. I’ve always been a bit of a wandering soul, so to get the best of both worlds is alright with me.

MW: Got any thoughts about music education, all-ages shows, and stuff like that?
BR: As far as my thoughts on kids in the music community, I’ve always loved it when a kid gets it and learns a new bit of music. Especially if it’s something heavy and on the garage vibe. I’ve been teaching kids for quite a while. To say it helps them form their identity would be a bold understatement. Find a kid that can mirror your playing and you’ll get a session player. Find one that can’t do what you’re doing? They’ll change rock and roll.

Find out more about the Schizophonics at and get their brand-new 10″ EP from your favorite local record shop,, or the merch table. Get Save Music in Chinatown 12 tickets at