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Pagan Babies - "Last" trailer

Posh Boy Records poll wrap up, by: Jon Roa

To wrap up our Posh Boy Records Poll, we went to California legend of all things Hardcore: Jon Roa. While Jon didn't actually vote for one of the bands we listed in the poll, we found his quick history lesson worth posting. As for Tim and me, we went with Agent Orange. When I think of Posh Boy, I immediately think of Agent Orange for "Living In Darkness" alone. Either way, lots of crucial punk records in that back catalog. Thanks to Roa and thanks for voting! -Gordo DCXX

First, I thank Double Cross for asking me to contribute anything.
Gordo has kindly asked me to list my favorite early Posh Boy band. I have seen all of the bands on the list (all with Ryan Hoffman of Chain of Strength I might add) and even though my vote choice goes to TSOL, my absolute favorite Posh Boy release is one not listed: The Stepmothers “All Systems Go EP” (12", EP) 1981.



The Stepmothers released a single, an EP and one LP "You Were Never My Age" on Posh Boy records as well as being on "Rodney on the Roq, Vol. 2." They are best described as a state-side Generation X.

The reasons I love this short five-song burst of energy of a record are many but here are a few of them: The band is from of my area of upbringing-the 909! They borrowed so many genre influences that they were never really accepted by any one group: too metal for the punk crowd and vice versa. I saw them in Chino, CA in 1980 at a hall that they rented and it was a great shock to see a local band that good. The members were totally cool and supportive of this fat, bald kid with braces who lied and said he had a band (me). But above all, their lyrics were great.

I think you all should seek out the CD and listen to the words to “Don’t Kill The Beat” which are still strong today:

“So you have been into the scene for a month or two.
But that kid there, there is something wrong with you.
You spike his face so he fears for his life.
You forget pretty quick what your first night was like.”

I hope all you Double Cross people track it down and listen to the song, “IF I WERE YOU” as it is a great one. Let the world know what you think.

I think it is fantastic. - ROA XXX

Chris Lohman - Blackspot, Collateral Damage, A.C. Silk Screen

Chris Lohman with Blackspot, 3/22/2009, Photo courtesy of: Lohman

For those of you that might be unfamiliar with Chris Lohman, he's been a mainstay in the Southern California Hardcore scene since the mid 80's. Getting his start in Blackspot, currently doing a band called Damage Season and going full force with a screen printing company that's been doing all the latest Cro-Mags merch, I thought Chris would make for a good read. As Chris would say, he's… "No one to step on, no one to take your shit, who will you have to fuck with?". -Tim DCXX

First off, tell us who you are, where you're from, what bands you've played in, etc.

My name is Chris Lohman, and I'm from Huntington Beach California. I grew up here in Huntington, and have lived here my whole life. Huntington Beach has always had strong roots in the punk scene, and for lower income and broken families, punk rock was the escape. I grew up seeing the punk culture around me, and knew kids whose brothers were listening to punk rock. In the 6th grade I asked for a Clash tape (Combat Rock) for Christmas. I got it, and I was drawn to that kind of music...it wasn't long after that that I got a guitar, and wanted to play in a punk band.

It wasn't until my Freshman year in High School that I really did start to play guitar. I can't remember which friend it was...I want to say Mike Murphy...but they told me about a band called Uniform Choice. They were a Hardcore Straight Edge band out of Orange County...I had heard of Minor Threat, but UC was from around here, and I loved it. I would sit in my room and try to play their songs, and one day, while playing guitar with my cousin, it started to come together. I was hooked for life, I knew then that I wanted to be in a Hardcore band.

Bands were kind of slim pickings for me in High School. I had some great friends that I played with, but I wanted to do a real Hardcore band. A year or so after high school, I surprisingly hooked up with some guys from high school, and started a band called Blackspot. Greg Brown, Scott Lytle, Sean Fader and I were doing a full fledged Hardcore band. Blackspot for me was a dream come true. We played our first show with Insted, Dan from No For An Answer put out our 7", we went on tour, and played with bands like Sick Of It All...it was what you were suppose to do in a Hardcore band.

As Blackspot started to run its course, I found that I had an interest in singing. So, a few friends of mine and I started a band called Collateral Damage. The band was politically charged, and had a very heavy sound to it. It actually started off as a project, but quickly moved into a full time band. Collateral Damage got to play a lot of great shows, and we were on New Age records, which at the time was a premier label. After Collateral Damage, I continued to play music...and in 2000, Dan O'Mahony and I started a band called JOHN HENRY HOLIDAY. The idea was to capture the sound from the 80s and let people know that that music is what inspired a lot of people to be who they are today.

I have never given up on Hardcore... I still play it today. I'm currently doing a band called Damage Season with Brian Manery (Mean Season), and Jae Hansel (Outspoken), and it's one of the best band I have ever done.



Who are some of your favorite Southern California bands and why?

Uniform Choice, No For An Answer, Insted, Outspoken, Unity, Mean Season, Ignite, Don't No, Social Distortion, and every band that I have been in.

Uniform Choice was the band that started it all for me...I still love and listen to the first album. It's the music that just resonated with who I am, even today.

No For An Answer was the band I got to see from their first show to their last. I got to follow them, and see their progression, and be part of it. I knew what shows they were playing and when their records were coming out. I was knee deep into the scene, and they were the front runners around here.

Insted...everyone liked Insted...you had to. The guys were cool, they had a great sound, and they were the staple of Orange County.

Outspoken, just sound good...and their live shows were awesome. I was always so impressed with the songs they wrote.

Unity was one of my favorites...I just love the sound of that 7". It reminds of skateboarding with my friends, and going to shows. We would always listen to that on the way to shows...and SNFU on the way home. Never did get to see them.

Mean Season...I always wanted to play guitar as good as Manery...still can't by the way.

Ignite brought Hardcore back to Orange County in the 90s. When I heard that record that Zoli sang on I was more than impressed. They still sound great today.

Don't No just plain scared me to death...they were an HB local band that had the scariest crowd I have ever seen, but they really know how to play their intstruments. Great band.

Social Distortion...it's a county law that you have to like Social Distortion if you live here...even if people say they don't like them, they really do.

For all the bands that I played in...I have to like all the bands that I played in or what would be the point?


Chris Lohman with Damage Season, Photo courtesy of: Lohman

What are some of your favorite memories from going to shows in Southern California?


When I first started going to shows 80s, there was Fender's Ballroom. The Olympic Auditorium was the big punk place to have shows, but they were stopping shows there, and Fender's was the new place. It was in the heart of downtown Long Beach, in a gang infested area. It was about 30 mins. away from Huntington Beach, but back then it seemed like hours. Once inside Fender's, the gang problem didn't stop. You had the Skinhead/Punk gang, The Lads, you had the Suicidals...enough said. You had SOS, the Samoans, and to top it off...Circle One. If you kept your head down you were OK, but if you got out of hand, one of them would handle you. I remember feeling scared when I first started going, but the music kept me going back. Once I got the hang of things, I really loved going to shows.

Thinking back, all the riots, and gang fights is what made that place so fun. It was like a movie, and when you were on your way home you felt like you escaped death. In a way you kind of did. There was so much brutality it didn't seem real, I'm glad kids today don't have to deal what that so much anymore, but you had to really want to be at one of those shows. The friends I had back then I still have to day...they feel like old army buddies. We went through something great. Things people today wish they were there for, band that people will never get to see again, and we got to see them. Cro-Mags, 7 Seconds, Youth Brigade, Youth Of Today, COC, SNFU, Agnostic Front, Bl'ast!, Exploited, RKL, No For An Answer, Black Flag, Descendents, TSOL, No Mercy, Beowulf, Suicidal Tendencies, X, Bad Religion, Uniform Choice, Insted, MDC, Stalag 13, IllRepute, Circle Jerks, Chain Of Strength, Scream...these are the memories I think of most often. I love playing shows...but what inspired me to play was going to those shows.


Workshed Records ad for the Blackspot EP

How did you get started with your screen printing company and what bands have you been printing for?

A long time ago, I use to print for Mike Hartsfield at New Age. I only did it for a short time, but I enjoyed it. Two years ago when the recession hit, I was a longshoreman...and the work stopped. I spent about 6 months trying to figure out what I was going to do. I was watching TV one night, and I saw one of the guys from TAPOUT doing a commercial for self-help CD...I think it was Tony Robbins. He mentioned how much TAPOUT was making and I just keep thinking about that...I never bought the CDs or anything like that, but it did get me thinking about starting my own business. The more I thought about it, the more I liked it, and I had a family to think about.

A few weeks later a friend of mine mentioned that he knew a person that was selling some screen printing equipment, and if I knew anyone who would want it. I told him I did, and I knew that's what I wanted to do, be my own boss, and work hard for myself for once instead of someone else. A couple of weeks after that I got a call from the Cro-Mags asking if I knew anyone who could do merch. Ever since then it has been great. I've done merch for tons of local bands: Colors, All Your Might and more popular bands like Ignite, and Nations On Fire. I've done some re-issues from older local bands as well...and out of state bands like Fathom Down of course the Cro-Mags. Clothing companies and skateboard companies make up a lot of my business as well. I never realized how many people I know who need shirts...It's awesome.


Criag Ahead, John Joseph and Chris Lohman, Photo courtesy of: Lohman


Let's talk Cro-Mags. How did you get hooked up doing all their west coast merch? Who does the designs? Any classic Cro-Mags shirt you'd love to re-print? How's JJ been to work with?

One day, when the Cro-Mags were coming to California to play some shows, they called me to ask if I knew anyone who did merch. I told them I did, but I had literally just started to screen shirts. I was about 2 weeks into it when they called. The designs come from either John or Mackie, they have friends that will do their artwork. Fans sometimes will send those guys some art, and they will use that as shirts too...only if the people say it's cool. I finally got them to do the black and white AOQ shirt this last tour. I loved that shirt, and so did a lot of people. I keep getting asked by everyone if they were going to have it on this tour, and I finally got to say yes.

The other one was the original AOQ shirt that they has back on the Motorhead tour...we got to do that one too for this last tour...that one's rad. Working with John Joseph has been awesome. He has to be one of the nicest people I have ever met, he truly cares about people. He's written a book called Meat Is For Pussies, which should be out in April 2010, and he wrote it to help people understand about the foods they put in their bodyies. He truly has respect for the human race. When I've gone on tour with them John always sits in the front with me, and he makes everyone in the van die of laughter...the stories he tells are crazy. He has been around for a long time. One of my favorite stories is when he went to see Fear on Saturday Night Live.



What are some of your memories from seeing the Cro-Mags during the Age Of Quarrel era and or the Best Wishes era? How does seeing the 2010 version of the Cro-Mags compare to the original versions?

Well, I haven't missed a Cro-Mags show in Southern California since 1986 when they played with Motorhead. Back in '86...seeing the Cro-Mags was the greatest thing in the world...John Joseph was going crazy, and it seemed like they played the whole album from start to finish. I wasn't too up on my music chops back then, but they seemed to play really good. When I saw them on the 1990 "Down But Not Out" Tour, Harley was the lone singer, and it didn't have the energy that they did in '86, but the sound was awesome. Everything was dialed in and perfect.

Now that I'm older, and I know my way around music, I can say that the 2010 version is the best version to see. With Mackie on drums, it sounds exactly like AOQ...and John Joseph acts like he has more energy now then he did back in the 80's (the way John Joseph eats, he just might have more energy...Vegan). With AJ from Leeway on guitar, there is just no one better to play Cro-Mags songs...and my main man Craig form Sick Of It All on bass...and we know how good he is. With all 4 of them together it has to be the best version of the Cro-Mags so far.



Favorite track off Age Of Quarrel and favorite track off Best Wishes and why?

We Gotta Know...Just the rhythm of the sticks counting at the beginning will make me go crazy. I can never get sick of that song...it has all the elements a Hardcore song needs. The best intro in the history of intros, and then the song speeds up to a perfect rhythm to mash around to. The lyrics fit exactly with the song...what else could you sing about with that song..."Struggling in the streets just trying to survive, searching for the truth is just keep us alive, gotta break these shackles gotta break these chains..."

Crush The Demoniac off of Best Wishes...that ending of the song is out of hand. When he's yelling, "Got to kill, got to fight got to crush the demoniac"...I love that. I feel that song could have been on AOQ.


Anything you want to get out there regarding the screen printing company? Contact info, etc.?

If anyone wants to get shirts printed, by someone who knows about Hardcore...I'm your man. If you have any questions at all, you can call me, text me or e-mail me. You can also contact us on Facebook, and myspace: AC Silk Screen.

A.C. Silk Screen
Chris Lohman
(714) 801-9055
Cldamage@aol.com
www.myspace.com/Americanclassicsilkscreen


JJ and Lohman, Photo courtesy of: Lohman

Maturity: A Tribute to Endpoint, By: Brian Peterson

Rob Pennington with Endpoint at The Wetland's, NYC, 2/13/1994, Photo: Angela Boatwright

I still remember the first time I heard these lyrics:
“Standing alone, feeling the dark, screaming so loud my throat goes dry. Clawing the dirt, pawing the door, the path so hard to find. Feel the fire burning inside of me. Taste the pure desire of the need to be free.”

“Remember” by Endpoint somehow described every ounce of my very being as a teen. My glasses were a little too big, my clothes a little too baggy, my personality a little too awkward. I had recently graduated from high school but was completely uncertain about my future. I had moved to my town in Illinois from North Dakota a couple years previous and missed my childhood friends. I had no one to confide in, no one to take advice from. I felt utterly alone.

I took some college classes, worked at a local ice cream store, and went to see as many bands as possible at our area coffeehouses and VFW Halls. I was staying afloat, but was directionless. And I didn’t want to keep going.

I never went as far as trying to end my life. I certainly thought about it, but I was just as afraid of death as I was of life.

In 1994 I met a group of friends who were to become like family. They embraced me for who I was – with all of my insecurities and frailties. We were brought together by hardcore and it was the most exciting thing in the world. I started playing in a band with some of them. I suddenly had a social life. We did everything together – went to shows, practiced, helped each other deliver newspapers, watched videos of old-school pro wrestling pay-per-views. We were inseparable, and I was starting to feel like I belonged.

The oldest guy in the group of friends was sort of our “hardcore mentor.” He made us this (now classic) mix tape that we all dubbed from one another. We all had sought out hardcore on our own and had already heard many amazing bands, but this guy (Greg Thompson) was like the hardcore Quentin Tarantino. He had every record, knew seemingly every word to every song (no matter how cliché or inane). His record collection was like a gold mine!


Duncan and Chad hair it up with Endpoint, Photo: Chris Bennett

One band I remember hearing on this important mix-tape was Endpoint. I remember asking Greg, “Hey, what’s with the singing?” I guess I had become used to hardcore vocalists who just screamed. He just smiled and passed me a copy of their album, Catharsis.

“Give it a chance,” he said.
I did.

I took it home and put on my headphones. I was riveted. Those surging, rapid-fire opening chords to “Caste” and Rob Pennington’s vocals were like an alarm clock inside my brain. It awakened something inside of me.

Then came “Remember,” the song quoted above. As I followed along I noticed feelings I’d never felt building inside of me. It was strange. Normally I kept everything bottled up inside. Suddenly, I felt a tear roll down my cheek. I could completely identify with the lyrics.

Looking back, a lot of my misery was my own fault. I allowed life to happen to me instead of making life happen for me. For whatever reason I felt helpless and hopeless. But as I heard this song, something inside of me changed.

Someone out there understood, and things were going to be okay.

I played the rest of the record and was enthralled. The music was really unique: a blend of emotionally raw punk rock, melodic, Dischord-style post-hardcore, and a multitude of other musical influences, many of them stemming from their experiences in the extremely diverse Louisville music scene. What came out of their amps was as inspiring as it was abrasive. The emotion was practically dripping off the sleeve of the record.


Rob with Endpoint at The Wetlands, NYC, Photo: Angela Boatwright

Many talk about the times they saw people cry at Endpoint shows. Perhaps this has been a bit exaggerated over the years? Only those who were there know the truth. Whatever the case, I can understand why these feelings were evoked. They played music with their hearts and spirits torn wide open. When you reveal that much of yourself to others, you’re bound to inspire empathy – especially when you have such genuinely kind people playing the music.

Greg mentioned that Endpoint was from Louisville, KY. I’ll be honest, my first thought was, “Wow, these hillbillies can play some really great hardcore.” I know, I know. What’s a guy from North Dakota got on Kentucky, right? Admittedly it was a stereotype. But it was one I was ecstatic to have shattered.

As I continued to listen I noticed that song after song addressed social and political issues, but they did it in such a compassionate way. These weren’t diatribes - they were creating a personal dialogue. Some of the more militantly political bands of the time did such a great job of awakening people to so many important issues. But sometimes these bands failed to do one thing: You have to recognize the humanity in people before expecting them to change. Endpoint spoke about these important personal and political issues, but they measured the anger, sadness, and frustration with a healing salve of understanding and serenity.

Maybe most importantly, Endpoint showed me (and many others) that it was okay to hurt, but that we should take that pain and learn from it, grow, improve, and forgive (both others and ourselves). I hadn’t learned to do that yet, but perhaps Catharsis was my first lesson.

What sealed the deal for me was hearing “Maturity.” I’d already run the gamut of emotions listening to the record, but the following lyrics triggered something else:

“Deep inside is a soul, you haven’t felt for years. Open up and feel the warmth that dries away all the tears. Don’t be scared of growing old, just grow towards the sky. Don’t waste time lost in yourself or life will pass you by.”


Endpoint at Club Pandemonium, Newtown PA, Photo: Adam Tanner

I felt the hairs on the back of my neck stand up. It was as if someone pulled me up by the back of my shirt, gave me a big hug, and pointed me in a new direction.

It was time to put my life together.

From that point on I still wrestled with lots of ups and downs, as anyone does. But I finally realized I had the power to not allow life’s occasional pitfalls bring me down. I also now had a second family to lean on when the times got tough, which they surely did (and still do) over and over again. But I was now somehow stronger, braver, more aware of myself.

As the song says, I matured.

Fast-forward about 15 years…
My life, again, took a strange twist. The woman I loved for the past decade told me she doesn’t love me anymore.


Rob with an Endpoint sing along, Photo: Dave Mandel

The day she told me her feelings I went for a walk. The cold winter breeze chilled me to the bone. Freezing, I went to my car to take a break for a moment. I instinctually turned on the ignition and “Strings” from The Last Record burst out of my stereo. Tears formed when I heard these words:

“Nothing’s simple when you’re broken, strings are twisted, eyes are stolen and when I feel like dancing, there’s nothing left of me today. Nothing matters when you’re voiceless And nothing gets through this hardwood skin. And when I feel like dancing, there’s nothing left of me today. And it’s so hard to pick myself up, and it’s oh so hard when your strings are twisted And I sit here waiting to be untied. I sit here waiting...”

This has been the hardest experience I’ve ever gone through. But I know I’m strong enough to move on. I know that I have the choice: either lie down passively and wallow in sadness and fear or pick myself up and, tenderly, take some steps forward day-by-day.

How am I so sure I can make it? I’m reminded of “Inside” and suddenly feel like I’m soaring:

“Melt the ice that has so long bound you, for your life has just begun Youth for you was oh so hard; I wore a mask to hide the scars. It took so long for me too see. I don’t want you to hurt like me. The truth is so damn hard to find. I spent my days lost in my mind, but now I reach toward the sky. So soar little boy, soar so high. Spread your wings, learn to fly, set your soul free before you die.”

Music has been like school for me. It has helped change my personal and political outlook; it’s caused me to empathize, learn, progress, reflect, and grow. It’s helped me realize who I am and who I aspire to be.

Rob, Duncan, Chad, Kyle, Lee, Pat, Jason, Rusty, and anyone else who played in Endpoint: Thank you for allowing me to take your class. I never would have graduated without you.

Endpoint is playing reunion shows to benefit their good friend Jason Noble (Rodan, Rachel’s, Shipping News) on May 14th and May 15th at Headliner’s Music Hall in Louisville, KY.


Duncan with Endpoint, Photo: Dave Mandel

What one hardcore/punk album has stood the test of time for you?

Ajay goes for a dive during Enuf's set at Scott Hall, Photo: Ken Salerno

Ajay James - Enuf

Kind of surprised that it wasn't on here yet, but I have to say for me it was the Bad Brains and their Bad Brains album. I remember when I first heard punk music back in '83, and then I started working at the skate surf shop Freestyle in Woodbridge mall. I heard it on the Rutgers University radio station, didn't even know what punk was. I used to listen to KRS One and Kool DJ Red Alert, but this was so dope.

I remember when I bought my first walkman type device, a Mura Hi Stepper, and I used to listen to punk through the late hours of the night. Then I remember the movie After Hours came out, and it was a wrap for me, because they used Pay to Cum in it. That basically cemented punk as my music of choice, although I was still heavy on the rap, ska and reggae as well.

Another major factor for me was that they were a strong influence for me as a West Indian growing up here, because of the reggae influence, and also, there weren't any other all black groups doing this genre of music at this time. Of course it was huge for me, and that I believe for me is what got me interested in doing Enuf with my bruddah Andy White.


Token Entry promo photo, Astoria Park, Astoria NY

Johnny Steigerwald - Token Entry

Out Of Step by Minor Threat never gets old. I listen to the album now and it seems to have such a natural flow to it. Ian still had the anger and passion that carried over from In My Eyes. Brian Baker jumped from bass over to guitar to team up with Lyle Preslar and Brian’s influence came through, giving the band a new element. I love the fact that they experimented a little more with rhythm and tempo changes - even kicking back and getting a laugh with “Cashing In.” Twenty seven years later I’m still blown away by the overall sound of the album. The production is clear and precise but it still has a lot of grit. I think it’s one of the best hardcore albums ever made, and it still stands tall today.

Mike Vallely part II

Mike Vallely, Brooklyn NY, 2010, Photo: Sean Cronan

Here's part two of our interview with skateboarding legend, Mike Vallely. Again Mike dives into his punk/hardcore history, shining light on a side of him that has rarely been discussed. Thanks to Mike and Larry and stay tuned for more that's surely on it's way. -Tim DCXX

What would you cite as stand out shows you saw early on? What were defining moments in a live setting that would influence you to want to do your own bands down the road? Who were your favorite frontmen?

The first show I ever saw was Black Flag at City Gardens in Trenton, NJ in October of 1984. That was it. That was the most defining moment of my life where in a way, the rest of my life was spelt out for me. That's when I knew I would pursue music in some fashion at some point, but more so that's when I knew that whatever I did for the rest of my life I would do it with intensity. That's what Black Flag was for me, specifically Henry Rollins...a lightning bolt of intensity that struck me down and lifted me up, and that intensified me for the rest of my life. I was fourteen years old and I was finally all the way alive. Black Flag at City Gardens was a door getting kicked wide open and I wasn't gonna miss the chance to walk through it. I was keenly aware that this was something important.

I'd say Henry obviously was and is one of my all-time favorite frontmen. I saw the Circle Jerks a few weeks later in New Brunswick at The Court Tavern and Keith Morris was great too in his own way. Those two shows were big for me for sure. And I saw a lot of other local shows with local bands playing like Bedlam and AOD and others. All great stuff but nothing could touch or match that Flag show.

As far as other frontmen go, I never saw Minor Threat play live but Ian was obviously a heavy, and Danzig too. I'd end up seeing both guys later on in other bands they did and they are both great performers. I've always liked Mike Ness too as far as punk rock frontmen go.

As far as all-time frontmen go I'd keep Rollins on my list but would add Bon Scott, Ronnie Van Zant, Paul Stanley and Roger Daltrey as well as The Boss and The King, I'm sure I'm forgetting a few others.



Invert at The Barn Ramp in New Jersey, 1985. Photo: Mike Spotte


In the skating world, who were other people you connected with based on love for punk/HC? Who was most into it, and who did you have the most in common with on a musical level? As the decade progressed, how did you see punk/HC fit into the landscape of skating?

The guys I skated with when I really became a full on skater weren't really that into punk. Things had really diversified in the skate scene by '86 and hip-hop, rock, heavy metal and punk were all sort of equal components of what we listened to. I stopped going to shows and skated more at that point and although I knew plenty of skaters that listened to punk, I didn't make that the basis of any relationship and I wasn't interested in being a "punk rock skater" or anything like that. I was all about just being me.

The music still mattered and I still loosely followed the evolution of the punk and hardcore scene but I was in no way about the punk or even the skate scene at that point. I was just about doing my own thing, that's what the skating and the music communicated to me...do your own thing. I was never interested in being a spectator to or a follower of anything.


Larry Ransom and Mike V at the private Vans ramp, 2010, Photo: Mark Choiniere

How many cool people involved in punk/HC bands did you meet via your skating? Who were people you came in contact with that you formed friendships with? Was there anyone in punk/HC you ended up being friends with through skating that you had never imagined?

Traveling all over the world for the past twenty three years or so, I've obviously met a lot of people who I've connected with through skating and music and the common ground they share. I can't tell you how many times I've met people from such and such a band who were fans of my skating and I unfortunately never heard of their band to later find out they are a big deal of sorts. But yea, no doubt there's a sort of connection there and I've been given more CDs and invited to more shows than I could ever listen to or attend. I love it. I think it's really cool to have that kind of connection with people.

My assistant Larry Ransom is a guy I met via skating and punk music. He was one of the first, if not the first guy to ever approach me with one of my original Powell Peralta Elephant decks in the mid-nineties for me to sign, long before skateboard collecting became a trend. That stood out. The next time I met him was at the first ever Mike V & The Rats show, he was working for Revelation Records then and we talked music. Then he came on tour with Mike V & The Rats to sell merch for us and we ended up talking about the Powell Peralta days in great detail. We just really hit it off and he's been involved in my skate career and my music in a very integral way since 2004 or so. Although he works for me, I'd definitely call him a friend and I'm glad to have gotten to know him and share many adventures with. We always have a good time and an amazing soundtrack.

I've also formed acquaintances with some of my early punk rock heroes like Rollins, Ian, Keith Morris, Mike Ness and others which has been cool. Meeting, befriending and performing with Greg Ginn was a pretty wild experience as well.


Mike V performing with Black Flag, Alex's Bar, Long Beach, CA. Photo: Mark Waters

What were and are your thoughts on straight edge, both on a personal level and as a larger subculture? How did this tie into your skating and some of the destructive things you saw around you with other skaters, or anywhere in society for that matter?

Straight Edge was something very meaningful in my life at a very important time in my life. I was never one of the boys. I was never into the locker room talk and all that bullshit. It seemed very obvious to me throughout middle school and going into high school that most of the kids around me saw drugs, alcohol, cigarettes and sex as the only real rites of passage available to them - or worse, as the only real destination for their post childhood lives. Man, that was never something I was interested in. It just seemed so small time.

But at the same time it was hard to navigate one's way through it - that shit was always there. That's what I hate about drugs and alcohol and meaningless sex. It is the trade of those who are so uninspired to do anything else with their lives, of those who hate their lives. I wanted to do something with my life and I loved my life fiercely, so I saw drugs and alcohol as mindless distractions. When I discovered the music of Minor Threat I suddenly had music that further justified my thoughts and feelings with a slogan and mantra. Back then, at that time, that was really fucking important. So for me at the age of fourteen, straight edge emboldened me further to follow my own path.

But then like the skate and music scene, straight edge as a scene or as a movement really didn't inspire me. Once again, it just seemed like other people making and trying to enforce rules of living, codes of conduct and that kind of shit and I wasn't interested in that. I was and am only interested in leading an authentic life of original experience, I didn't want or need anyone to interpret anything for me. Straight Edge began feeling like a religion and I fucking hated and hate religion. Like, if I drank a beer or broke a commandment I was going to go to hell or something idiotic like that. People cling to crazy shit and I've been as guilty at times as the rest, but it definitely became clear to me that straight edge was becoming something impure and cult like and it stopped speaking to me.

The music still speaks to me for what it is...but I'm not a part of any group of people. I would never call myself a Christian or an American or straight edge, I have no interest at all because you know why? I'm none of those things. I'm me.


Mike V and Ian MacKaye at the Dischord House, 2001, Photo courtesy of Mike V.

By the end of the 1980s, were there any new punk and HC bands you were following? Things had obviously changed from 1985...what types of differences were there in the punk/HC culture compared to when you first found it? Were these for better or worse in your eyes?

I really got into Fugazi in a big way. That was the first band since I'd discovered punk and since I'd discovered Metallica that impacted me in any real way. I also listened to Shelter which I really liked for what it was. You know I've always connected with music on some emotional level so I could listen to Shelter and hear what I wanted to hear and it was a time in my life where I was searching for something more, so there was some emotional connection there. Intellectually, I probably couldn't relate with it but there was something there. I really, really dug the first two Danzig records too.

At a certain point good music is just good music. I mean now, I still listen to all three bands but I'm not really into any of them in any profound way. I'd say Fugazi and Danzig put on some of the best live shows I've ever seen and that I'm a fan of both bands still, but I wouldn't say that their music is integral to who I am in any way. I guess that's why Black Flag has always remained one of my favorite bands. Their songs are timeless, they deal with raw personal feelings and emotions and are all about saying Fuck You to the status quo. That shit just stands up better.

The early nineties hardcore scene looked like a bunch of guys all wearing the same costume. I was not into it at all. I mean, obviously great bands were killing it then and it was an important time for a lot of kids who were getting into the music, but I had moved on. It no longer spoke to me. It no longer mattered to me as an individual.


Ian MacKaye and his skateboard, 2001. Photo by Mike V.