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·,.VIEWS ......

YOUR HOOfS, Lndra ' AND IllIG ii' '




, -;~M'te Ariel R-p...:D":r.Y Dejt. H*&th~._'he,e&r&phJ' zl~~l. ~dlter & .1&yedr1ver

thanlal te fer the ,e.eryene





Itt/e talk with them .,

the nerve enclngs are a punk band from around Bar Harbor. I had a a show 6126 end clime up with this shItty interview. Enjoy.

Me: You guys are somewhat more melodic then a lot ofthe hardcore lve heard. (in retrospect I have no idea why the fuck I said Inis)
Mario: we call ourselves a hardcore band but im not really sure if It's a fair description because we have some melody, we just play fast and go nuts. Me :1heard that someone had to fill In for your drummer tonight, is that


Mario: no, He's our real drummer; he was threatening to quit but we convinced him to stay. Me: did you have to give him some incentive? Mario: Yeah, kind of. Basically he's in another band and he likes them better so he said, ·if it comes to us or them I'm going with them.· Me: what's the other band? Mario: Dying Allegiance, some weird metal-core band from MOL

Me: when did you guys get together?

Mario: they got together in april I just started playing with them last week Me: is that why you couldn't remember any of your bass-lines? Mir!Q: yeah that's why I COUldn'tremember any of the songs, but I pulled through; I remembered them about halfway through ... I actually only really fucked up on a few of them. Me: they seemed simple enough Mario: fuck you man. (laughs)

Me: that's not a bad thing Mario: yeah its alright I like it Random groupie girl: this guy is really, really, really pretty. Me: who? Girl: you. Me: oh. Thanks. . Arno: we first got together as Schwag in November. None of the people fr this band were in it, except me." Dylan: -dld you have to bring that up?? Arno: shut up. Me: was that a ska band? Amo: It was 'ska-punk" but we never actually played any ska. We had tw ska songs and the rest were hard core songs. Amo: we started without these guys just me and a stupid kid nan Charles and a stupid kid named eric, and we got rid of them and I got DyI and then I got Mario, and then I got Sarah, who sucks, lli1!m: She's a bitch Amo: we kicked her out of the band, changed the name to Nerve Endings .... we didn't have Mario for a while. Mario: (I was in Ecuador at the time Me: how was that? Mario: Ecuador was amazing, but I wish that I had been here for the start the band. Arno: cody from Schwag was playing bass, but he didn't show u practices so we kicked him out. Then we got Dave. pave: (magically appears) 1mthe sexy drummer. Me: you sure are. Me: i noticed that your first .ong w.. a cover of the Dead Kennedys

"Holiday In Cambodia". Would you .ay that they're a major Influeno

Marlo: Dead Kennedy's is one of our guitarist's major influenCe! We all love them a lot but Dylan is a rabid fan. And so they're probably on our biggest influences because Dylan writes most of the songs. [Dylan and Arno enter the scene} . Amo: Dead Kennedys, Circle Jerks, Black Flag, Anal Rampage, pretty ml anything out of the 80s, from England, New York. lli1!m: the sex pistols are my biggest influence

~: what. your favorite color?

Arno: shit Dylan: [in fake british accent] hot pink or blue . Dave: I like pink Dylan: Fag. (pushes Dave) MI:·(,.." out of coMtwIt quNIionc;}wIt I'NIfIItg up MI/) haws your aummer goinl . I , ~: my ~um~r h~s su~ked, coz I keep losing money. I don't lose it p8c ~ctw me out of it , like this guy at the K.C Hat!. He screwed me but that's ~ told me Icant do the 7124 show so I have to find another venue for that M~: . Dylan: Do you want a recording of my best orgasm? ... _J!. sure .. , Dylan: (hacks and coughs Violently as if coughing up phlegm) Arno: we have a demo coming out. .. people should buy it Dylan: do we really? ... Nno: our website is

About a month afle, the above /ntelVlew, I spoke to Marlo /ntlvlduely, and dsoovered that qule a lot hed changed since then. ME; so youre no longer In the nerve endings? M: well not 8lC8CtIy. Amo 18 starting a new bend, caJIed Orgazmabomb, with all the members of the nerve endings In It, except me. Iguess that' supposed to be nicer than kIcIang me out. ' "i ME: Is the new name .... lndlcatlon of a new direction lor the band? M: JIQ. not reallY .1'8 be the same as Shwag !Ifld the nerve endings. probe,bIy the same ' songs too, but rm not sure. [ ... } he's done tI1Ia before, and no one In the ecene seems to buy It. ':::0 ME: so are you purSuIng any other projects, musically or otherwise? Mi'fm starting my oWn bend now, we're In.. very formative stages but I can 8fI'/ that ~ng back to guitar, mt 8 aJr9!r1lned up. We're In the rumJng for a bass pI8)W and drummer. HopefuIy we .. be set Up by the time Iget to college. \,; ME: hCJ!I wID your new baret d!ffer ~I ~ Nen.-e EmfiOQs? what's thln_ne? M:-rm nat sure what our name 18 yet, but I think we're QcIIng to be a poIlt1caJ tuWcore punk bane!. We're going to do [fewer) covers than the ~ EndIngs did too. And I'q!efuIIy we'll practice more often. (haha) \. ,~

.,Mario: first time I saw you was at the Closer than Kin show in Bangor and [the super hardcorekids]_were being.mean to you and I asked you tf you were okay. and I thought you were strung out on heroine or ~hing." Mi everyone always tells me that cause I always look like 1mstoned MIfg: are you xedgex? MI. hell no. QxIIn: whats your zine called? Mi; sunshines undergrQund QXI!m: can I 40 a photo spread? Like naked photos? *,Yeah, like a centerfoldl ' y!! (laughs) ... that would be awesome ... but I don't have my camera ... QiJgn: I'm really ftexible, $ee? [demonstrates his flexibility] &!12: even when he's wearing a [short] skirt . .Qmm: but I'm wearing underwear today!


. . .I 1 tog py prose. commentarY poetry. comics. expqsca '.ache es • phO ca " . - .I.

r. .

now acceptin~ submissions for LG#5, -the death penalty,. -poetry

due out October

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• black and white photography

& actwork

* text & geaphical advectisemen ts

* reviews of indie & obscure cinema

Boogdish, a one m,qn band; c~me up to Bangor, on tour ali !~e way from Texas so that we couid d his bizarre electro-punk songs, I to him after the show atKt) hall on 61.26 Me: what are some of the ' , benefits and tile difficulties of being in • one-man band? ,1m: one Df thebenefrts is that I can practice whenever I want, and I don't have to teach other 'people my songs, and theres no one whO can tell me no: H gtves me a lot of , freedom basically, but, ytith all the freedom ,I also have all the' responsibilities, No .' ones going to make me 'practice if I start to lazy, ' AlSO" on the tour I drive for ' six hours, then I have to ' play, It's hard I don't' have much time, I've been " trying to keep a Journal'but I haven't writfen,anythlng in three dSys ~use I've been too busy" '.' . Me: what kind of equipment ~ ara, You using? , , ,1m: a korg poly-800 Is.the . keybOard I use: And then inside the suitcase " have • 'my 18maha TX81Z my' , drum machin~ is an Elexis SR16, [ ... J And then I use a tubescreamerd!stortion pedal



and a yamaha cort;lpressor pedal... 100<.0'-' t' U':Me: you're on tour right? from texas? "t16\'"\ 1m: yeah .... totally on tour, • Me: Do you have any gigs after this? ,. , 1m: tomorrow night 1m playing at the H,oss in Boston, .. and then im going to spend a few days with my step brother~, and then I'm playing inD.C and Hampton Virginia. also north>C8rollna, then ~ fourth of J~, I:m vISIting my"grandm?lher. And .~ then a couple of days In Georgia. And then the last day of the tour is a one man bands festival In A\l.\1JL .' , , .. Me;,.What do you dislike about microphones? __ .I 1m: I don't practice with a microphone so I'm nol used to using them, I have more fun when I don't have one, I don't have to worry about it. Also, '

W ti

,III •

It makes,your vOipesound'dlfferent. When you sing Withouta miqrophone it doesn't sound like a twelve-inch speaker, it sounds like is diapl],ragm and a throat. Me: It ~s pretty impressive that you createq one of the biggest pits at this show just with a'keyboard and a bass. ' . ' BO:.was It really? Whlcl' Song? It surprised me too. Kids don't usually dance when I play. They usually just sit back and watch me dance, and mumbie stu(f to,thelr friends, . whisper, and laugh at me,or whatever, which im fine with. . ' Me: dO you ever'feel like youre being treated like a novelty? I feel like that ,Sometimes ~ I don't really mind. I think that as'long as I'm making people'happy-I'm doing good In the wor1<i.... D~ you thln,k'l'm a novelty. ? Me: no, I didn't mean It like that, its,just that a lot of fJeO[;l!e ~ treated that way. I don't g think kids saw yOu that Way...' , BO:Jm worri~ that its j\.lst kids coming to see me talk fUnpy between songs and'do funny things with my handS. I ,worry about that sometimes. Like they think its funny that I don't wear a shirt. . '. • Mj: I thought the Whole musical aspect ot'ltwas pretty Impressive. There was one band that Played hei'e'acoilple of months ag~, A_,_ S_' _', and they had a drum machine. It didn't work at sll. It was a: total mess. 80: that's W,hat Boogdish used to be like, "'_e: you'kind of remind (11, of Mike Dixon:,but better, because he shrieks'a lot more. 80: I haven't heard his solo stuff. And I threw up before I played so I·couldn't hit the higher notes. ,. ;, ' Mario: (yelling at boOgdlsh)how many CD's do I have lei buY? 80: for me tohave yo~r baby?' Malio: yean BO:'a'lott . Me: what are your influenCes? . ,BO:...the D~ Milkmen, Mino~Threat, Devo; "lew Order, Wetln, Swans, BlaC?k lag;, F might ~ giants, ~eird AI :~n,~ovic. ~nd this Bike !!,pi~ B~b. . ~~
conducted by Ziggie.
,I I






.. ~i

, }allnterviews




'h :t


Interview With Ron English, Abridged and Reprinted from Issue One. Ron English is possibly one of the greatest revolutionaries and artists of our time. Starting in 1984, He has 'modified' over 850 billboards; an action which, overall, has cost corporations roughly one million dollars. "Billboard Modification" is a leftist, countercultural movement which is mostly centered around New York and New Jersey. English is one of the most remarkable artists in.this movement. I interviewed him by phone about a year ago; this interview is being reprinted because of the poor circulation of issue #1. 1. Z ive noticed many tributes to Andy Warhol in y.our work. what would you see as his most significant contribution to american culture? RE: what i like about him is that he changed the standard of what an artist was. before that it was all abstract expressionism. to be accepted as an artist you had to starve alone in a cold water loft entertaining some big [qranoiose] vision. Warhol made things more accessible. Starving 'was out. Partying with the rich and famous was in. 2. Z: Do vou ever feel like pop art is being attacked by corporate America and its copyright lawyers? RE: First off, some people are against the idea of pop art because it tends to be vacuous and overly decorative. This is true for a lot of art but you can't say that about mine. When some people hear the word pop they avert their eyes. They believe they already know what they will see. My art breaks the didactic of pop and deserves a second look. Since pop uses an appropriatists strategy there are some legal issues. Legally the artist can do whatever he wants as long as he alters the copyrighted image 30% or it's an obvious parody.The corporate strategy towards such activity is to sue the artists who they know don't have the money to sustain incredibly expensive lawsuits.

3. Z: have vou ever been sued before?
RE: ive gotten the occasional cease and desist. [ ... J basically they send you a letter, i got one from King Features, the company that owns charlie brown i had a record thai came out called Popaaanda on the back was charlie brown With a YlngYang head. The let.wr said "y.ou are using QUIcopyright;d character on the back cover of your record," so i sent t~erg leiter back saying "lets go to court and decce It there" They werent inierested in gOing to court; They were so threatened by a simpl~ I~tter thai lhhey ?acked down. Its really wierd They wanl you 10 Ihink Ihey can lake everylhing away from you Just T ey don I wanllo lose In courl.


4. Whal is your view of thE art world today? RE. Art IS circular like Ihe seasons Whal we were doin 20 . . . new and everything has been done. It seems like eve g years ago, kids are dOing loday. Every things Irylng 10 decide whats art and what isn't art it all ry generation klnda goes through same process of o.Id is that you see the cycle' d' seems amusing (pause) One of the bad parts about being gOing roun and round every n ti h' . Its really not. you know What i mean? the reat Ihin' ab ew genera Ion I Inks lis all brand new .... bul Avante Garde is thai its impossible 10 be ivanl Gar~ :'UI people who pick up pipes off Ihe fioor to be start a rock band and say "look how avant arde we a I"c~use lis already been done before. you could paint flowers and exhibit them at the mall i~ the mictw:et ~t/he only avant garde thing you can do now is (laughs) The concept of something trul bein avant an Ive In the suburbs, that's avant gardel have you ever seen girls p~ theiigsRirts o~;~ orhSh~cklng Just doesnt work anymore its you Will have seen it a Ihousand times. Its funny beca as t eir breasts? [ ... J by the time your my age shocked. they understand that shock is the correct resusenPeopleact shocked, but they really arent times. the response is "whoa im shocked" but your' POt se'kltddoesntmatter If you see It once or a million h eno S oc e at all i think that in a way theres a pervailing depression that goes across ge~erations at the beginning of my generation we were gonna go to the moon. then we went to the moon. then we were gonna go mars. next thing you know we cant even get back to the moon. it was very ethereal, heady. Ideas in art and music got more and more grandiose unit I we realized that we really werent going back to the moon. We're just trapped on this planet Then Ihe new zietqiest set It. I think Ihal punk was part of that response; it was very earthy, very acc~sslble,very human. but theres this underlYing depression in punk, Ihe nolion thai all Ihlngs really aren t possble we really are trapped on this planet. if the universe really is expanding Ihen Ihe possiblitv becomes less by the second that well ever get anywhere else the entirt! interview at www.rr.eweb.o: ••/e.undergr.und/


The Thermals:

More Parts Per Million


A review by Kendra Dub If there is one label that music listeners can rarely go wrong with, it's the now-legendary Sub Pop. I picked up several fairly recent Sub Pop releases in the last month, and plan to review most, if not all, of them, starting with Portland, OR's The Thermals. One of the first things that you can tell about The Thermals is that they're a carefree kind of band that don't seem to take themselves too seriously, yet they aren't sloppy and neglectful with their music either -- often a difficult coIDbination to achieve.

Death Cab For Cutie's Ben Gibbard took a liking to The ( Thermals shortly after their formation, and hooked them.._, up with Sub Pop, who released their first single this past January. More Parts Per Million, their debut fulllength, was released two months later, and is a pretty ~ damn good album. The first time I listened through, I was like, "ah, it's just another knockoff .punk nouveau band," but then I started noticing that tbe record wasn't all that cut-and-dry and was instead lyrically sly, undeniably catchy, and gratifyingly manic ...and, best of all, lacking the high level of potential irritation that accompanies many albums in the current wave of so-called 'punk' artists. I think there's definitely some room for maturity on More Parts Per Million, so I look forward to when The Thermals put out another disc, but this album will remain a fine example of a young, frantic rock 'n' roll band just doing their thing. Worth getting.




WfHI. This record is just inspirational I must say. my favorite song on the album is "why are all the good girls pregnant." When I saw Bo<igdish perform that song live he told some weird story about it but I don't remember what it was. Anyway, in the recording he layers melodic vocals over screamy vocals, which balances the whole thing out very well. Then theres the dramatic silly keyboards that keep building up to a climax and layering over themselves in one, two, three octaves. And then, the last song totally caught me by surprise. All the songs were fucking crazy silly and fun. and then ... at the very end theres this beautiful, tragic love song that fits perfectly somehow. Its about breaking up with a girl, but not in the cliched way that that phrase implieS. its kind of like a spoken word piece with a soft synth melody in the background. The last line, "when I cry myself to sleep at night I sing to myself 'its gonna be alright baby" is a suprisingly fitting end to a unique album. You'll probably never see this CD ever in your life (unless you order it or unless you live in Texas) but if you ever do buy it! It will be 3 dollars well spent. PINK FLOYD [EMil: THE PIPER AT THE GATES OF DAWN Its unlikely that anyone reading this zine gives a shit about pink floyd but im writing about them anyway. The thing that strikes me most about this record (their first recording ever) is its tone, for one thing. Its so happy. It's the only Pink Floyd record ive ever listened to that hasn't made we want to kill myself. this record is crazy. Its so much more raw and intense than anything else Pink Floyd ever did. Its not mellow at all. The guitars crash and bang and the organ goes crazy like a haywire carousel and the bass bounces like a pogo stick and it all fits together. Its one big psychedelic fairy tail, starring Grimble Gromble the Gnome, the Scarecrow, Sid Barret on his magical bike, his clan of gingerbread men, Roger Waters on a unicorn, fairies, and much much more! the child-like clatter of Sid Barrett, and the spacey, dark anthems of Roger Waters are worlds apart. So even if you don't like Pink Floyd, you should still check this out. JONEE EARTHQUAKE BAND [FAN ATTIC RECORDS!: 16 GREATEST HITS!

Up with piracy! This record is a masterpiece. J.E.B stays true to the punk dynamic of simple chord rotations, and yet produces stunning variety in their songs. J.E.B's overall sound is that of a rockabilly band: there's a lot of 1-4-5 blues chord rotations and country styte in their songs, among other things. You can also hear an occasional random pop culture motif: for example, in"Get Me Out Of High SchoOl Hell", instead of a guitar solo, Jonee plays the entire 'Ren and Stimpy' theme-song: Crazy. Definitely one of the best releases to come along in quite a while. PUNK 0 RAMA 8 (COMPILATION) [EPITAPH RECORDS

When I first saw this compilation I thought to myself," Wr:NI that looks cool! It looks so punk! I must buy it!" A week later im thinking to myself, "why the fuck did I buy this shitty compilation? Its so emo." There's one good song by the Distillers, there are too many Bad Religion songs, a Pennywise song which sounds EXACTLY like a bad religion song.etc. Overall, only 12 out of these 32 songs are any good. the moral of this story: NEVER BUY AN EPITAPH COMPILATION, NO MATTER HOW 'PUNK" IT LOOKS!


Todays Episode ... [Art as an Alternative To Consumption] By -Ariet H-P


While looking around the streets of Bangor, I discovered that many people like to throwaway perfectly good possessions. Refrigerators, washing machines, dryers, umbrellas, couches and chairs were among some of the things sitting on street corners. Many people seem to be disposing of perfectly good things. In the USA, people seem to be spoiled, when something is slightly outdated, it is thrown out. While these perfectly good objects are often taken to the dump, I have found a much more satisfying alternative: art When appliances or other things become outdated. consumers suddenly see no use for the old versions, and they become waste. This is a good way to get new objects to make art with. With some paint, wire, stencils, and glue, you can turn your garbage into creative works that are much more pleasing than a land fill. . If you are looking for usable items, there are a few times in particular when it is best to look. After yard sales people tend to leave", leftovers on their front yard, usually free. This is a good time to pick up furniture. Garbage day is also a good time to find free furniture, but you must beat the garbage trucks. Having a car helps if you plan on picking up big pieces of other peoples garbage. it is possible to do this with plain old muscle power, although more pain~ul. Paint, glue and ·permanent marker tend to stay on the best. Stencils are fun to use, because they can be reused many times to create a pattern. Many things can be glued on such as glitter, stones, beads, and whatever else the glue will hold. Permanent marker is good for doing small designs. There are an infinite number other things that can be done to decorate your findings. Because of consumerism people like to have to newest type invention, and they feel inferior without the newest fad. It is part of being from the USA. But, it also becomes easier for people to get a hold of uncommon things to do artwork on. Soon, you will be picking up junk on the roadside and making it beautiful!

palla tom savage explosion (fuckin it up) contact ryan m. at x


ON DE~iJ';·rjW







MeJ1day Metning July i9, 2004,



ive found th.t ay t.h.ught. '.n1y,flew efficiently in V.CUUll, .. nd y.t i .. cen.t.nt1y cre.ting ay ewn .', .p.ning ~.elf t. p~chic p.lluti.n with .11 it. c.ndy e.c.pi.~~h.r re.litiee th.t .r. n.t r••litie. n.t .v.n clo •• t •• hift. in ••• illlage , •• JIIicr•• n~ ••• nt ,'T p.t.ntial • ,I f.r·alcr' •• ~'.'l1t. , and i knew.11 alongth.t HakimB;'; ,f. right that, l1li all (by)prilduct. of w t.rn 1iilI~. •• civllizatten .re vuln.r.ble to the, the •• ciety .f the .nt_t.ina.nt .pect.cle. ,the w.rship .f i~.g ... , ,not .f god. or iid .... p.rh.p. imag.e .f, g.d •• p.~h.p. even illlag'. ', but, nev.~ act•• l'experience 'anli th.t. wh.~ it 1u, t~at'~ h.w ;they g.t you. ,the c".Z:Ij_ •. ~ala y.ur face. th.chic c•• put.r .i.ulatien.ntertain. t -•• nt, yeur ·ti•• ,&four-cre.tiv1tY,cbanneling athe. inte • Q lack hole flf d.t., • 1~111l into an illusi.n. '. lY le.t.. i thing.. and .v.n' ... i wut.d aw.y en dij1:ital"~':li"d'I'p.} knowtna •• , and i didnt act'. ' i .y .ye., i';Q~ heur~ ef i,•• ge!l','endless' i}l!ol.i,{ll'!J alere •• naging • digital·.icr.c ••• f.r the .ake ~. ef .e.e dimly r.JIIe.beredpur.uit, n.t even uaint; mybrain~ is the •• chins plugged int. the wall .r is it plugged ~ int.' Dle?i' certainiy h~v~ eneugh y.ungl ble.d and light in .y ey•• ' t'e' f •• d H:tfll !II.rning •••• nd P;i _dUllh •. . v ••• N.wi. fre.f.lli~ in the alternate univer.e .f a •• rning unreal,.~ UlK i have lit,.rall y n.t slept at all t.night ,r this •• rnint; and •• the •• rnint; is .li.. t,e .e, unfaaili.r", e,Ppr• he. • i·.... a .trang.r t. the !lunri•• i .ne. kn.w •• w.l:l. the .t.r. f.d •• nd gl')I t. and fr. ,i ... uae that th.y d.; i ••• ua. a l.t .f thing •• i a•• ua. that whenil ' finally leokJc ~thru t.h. 'drapes, if:i ev.r d., i wi'll•• e the .... fl..ili.r sc'.n~ .f all g.rd.n .vergr.wn with wl1df'le"ere, butwhat .aku ay a.~ppti.n •• 0 .real?




. i. fifth i ••• c.nd rat.'T~ the .e'·th.ught.' b r eught, t. yeu by ziggie --Hui., Bey 5th E.tat. .r



Le.k 11lth. airr.r. S\udT ,..ur .wu t.a\ur.. until ,.ou Ile _ l.llI.r UIld.r.\aDd h •• 1\ i. po••ibl. that you .•v.ll.xi.t. L••• your ••lt in I}". I a•• You ar•• Y.u p.rci.v. ,.OUT ••It, and ,th.r. you. Which vi.w r.all,. aatt.r.' What &ravity d. app.arano •• trul,. h.ld' Obvlou~l,., Il.n. • at all; o.rr.c" That 1. what 1 .hould b.ll~ •• App.arano •• 4. n.t aatt.r. Only t.h. !nddo ClJunt Wl •• p.opl. have •• ,1v.n \hi. advlc. tor .... year •• Y.t., I .. unable; to liv. b,. t.hat rul •• I ••• ~ .kin a. an .xt..n.lon ot ~ .oul, and 1 w..t the two to .atoh. I t••l .hall.w .n ~ bad day', but on th. S ••', b.aut,. rl ••• t.hrouSh ~ and tlo•• •ut .t .v.rT p.~#~ But what b.aut.,. th i.' 1. ;.I .ant t. pierce and die. ~ bedy' until I .. a creat.ur. e•• po ••d ot bleed and •• tal. I want t. r.j.ct p.rt.ctl.n, my •• lt into a th.u.and pl.c.. , to br.ath •• i~~ 'Th••• r. I d••t.r.., ••It, th. cl•••r I will c••• t. tinally ., achi.vl~ a .tat •• t c.nt.nt.dn •••• Th.r. 1. b.auty ill pUll, beaut,. 1n what the '.aj.rit.,,4. the w.rld abhor., '.t Ja.auV 1n a cont••porary b.auty. I want t. be,_ . .~lll8an., I want t.o .y brain on my .kin, I wan\ t. dive inte the ab,. . wlt.h a srin. . But. th.n, what' •• hocking anyaor.? W. ar" g.1~ t. b., in our s.l'.n, a sen.,r.tion flftad.d ink and over- . •tretch.d earlobe., mind. numbed by drugs and ••d1a. It I taaer •• ., ••If in ••If-d.struction, will 1 .1.ply b. anather grann{ with hole. in h.r fac. ? I dent want \0 b. "one of those ; one of those kid., on. Qt th••• bralnl ... narcissistic.bitch.s, on. of thesel silly vain art-.cho.l girls. I want to shin. uniqu ••


• aind.





I want t. _b. pur_•• \. inhabi\ a b.dy tr ••• r .car. and rre •• r pobon. tha"li 1ght inhibit. a •• I wan\ t. walk and t.ll ..t.... t.\d. 'i_F',~" - who will cru.h your every a:r~en\ with wicked wit. I w.nt t. be ln c.ntr.l .r y.ur d••ire, I want influence. I w.n\ w.d\h .n8\l&h t. tund IV' .rtiat10 aWl1ltl •• " (which 1 .. y er .~ ne\ p•••••• ).-I w.nt t. b. iap.rtan\, r••p.ct.d, ..rb•• v.n by th••• who i. not und.r.tand ••• I wan\ p.wer. Then, I w.nt ,~ty, tfd rebellion, and • aign around ay neck that ya -~: .. n.t .ne .r y.u'-. I de n.t want \0

••• 1.i1~\-U1.'

the .dult i"Hh • aigh-.r ·,what • gutty te.n.!er- I w.~~ I want ln • w.y th.t ju.tlri •• ~ .xl.t.nce and ••t•••• part. I want t• •hine unlqu ••

"'tilt "~~.a_\.


I dont want t. b. o.t.g.rt .... ~ .111 be. It 'a lnnlt.ble. '!'he r. I .torU"'-\. b• .., .wn por ••n, t.he •• aer. I will thr.v'~_~.-.4___!: all.thor I have no 1$ lde. wh.t the -f*r •• , and. 1'. ac.r.d.

Ev.~ t.hi. writing i. cliched, .nd. you've th.ught 1\ ,.11 ~er.r •• It can atill be .l.pp.d wi\h a l.bel. It can .till bo 'teen .~.\'.

M!iy I never be content,

may I never be complete> may I ne,:,er b-e


... ?

J\,lly 15, 2004


& ot her Thought

a J j\lly 12 ~2004J Br ..don Moore n .... vior of the wor~ !.1l1y .. raph"

\ the blood of clldre n \ yOW' children ., childten ye t unliving ••• yes'l unborn, .-a.DOleyea Dy, love itaelf, unloved by nui •• nce or ,r.caution ..• ~ried to the tu~ure, .; Childre~ br •• the the .ir of ddt I foreata. their blood flowf wit h my .pit & the~dry •• p of my ,ye.. . ;i h ..e /love /aa indifferet t dry & .. diecu,bl ... in ~ untold lever. bf bitche like unawakened-Se ..Monkeys
today the world smaller and drained began to fall and fluttered- down and smaller and

th"l' monarchs of

to the~. their bodies .. e r ainclarU. bitch .. & future unti •• ~hey exist ~ry & unaniaated in the q.ietude ot limltlees pet.nti ...

down to the bottom where the silt flows i~ and out of reeds, qUiet quiet in the underwater death s~quence breath, you're breath,

so quiet

qentle~ like a breeze,
and flying a kite in the world

the water flows in and quietly annihilates, so god-damn and suddenly you're flying, no not flying, five years old and the sky is the most perfect blue, the bluest sky

and then the sky falls and you are coughing for air, cough, cough, don't let me drown, and then the water flows in again and you're sitting nervous on the beach with a boy you do not know, smoking tobacco from a handsome wooden pipe. he turns to you and says : and drowning, sputtering, sinking, open and you are pulled into them, nei ther resist nor comply.& doorways into the smiling dark will becoming meaningless, you


Two. derelict lots serpentine thoughts the alleys of my city it's lonely at night i kick a trash can lid the eye and the id the stars are wide and bright tonight



of stars



thi. 1 u. i"cl.dio.~d t. th.:I .. ad 6i·UK)aeld.ier. "h. hay. b••n .&Critic.d.n the .• :r ,r •• d and bleat..d

doan (.


f:ap:l.t.a1ll)i." in "'a1~

whit Aft'. "h. ••• t.h_ u •. •• t.hiD« but. .t.atia'ioa,~ •• SUPPORr OUR TROOfS BRnG TEEK HoMS
....... n•• rt;


w lfh...•••

to1U.. are bTth. pi~. in th.




".ac.otr ••r~ .~hin.. und.r~r.uD4

uU-O'P1rit;ht. July 2004 (0.". treely,. but pl8,f;itriu Ilnd ill aend '113' IlTJl3' .t
•• nk:~I5.




... i.1t ••c-.; ••undergr.uid