The headline gig was fun. There’s something magical about actually having 3 albums done. It gives you a lot of options and you have the ability to play 75 minutes and still have some songs left to choose from.
The only thing that sucked is that our release was delayed by about 2 months. So we kind of had an album release party without the album actually being released.
What’s going on w/ the new album?
It is finally going to be released mid July. I’ll have the exact date this week actually. Our producer, who mind you increased prices by double midway through the album, is taking forever to deliver the final mixes.
This album was quite the rough experiences. I think everyone involved in the making of it almost
Pap died at some point. Except for Celinda. Celinda is invincible.
But what do you expect? The album is called Rather Excessive. Of course making it wasn’t going to be the easiest thing in the world.
But what’s really great about it is that- this is the first time we have a group effort on the album. Every band member wrote their own parts on this one. On 53 Minutes it was basically just me n my producer in Germany and on Bonus Dias it was our producer, me n Rotten Rollin who is still our drummer to this day.
What’s next?
Lots of rehearsals to get a new setlist together followed by a bunch of shows with the new songs finally seeing the light of day. We should shoot some videos too. We have way too little of those out there.
Any big shows coming up?
The Viper Room and Daddy Diamonds. Oh and now that Adrian, who hates me, doesn’t work at 3 clubs anymore we’re finally gonna play there.
I will announce them as soon as we have the album release date. Also planning shows in San Diego, San Francisco, Oakland and Vegas.
Any last words for your fans?
You guys have alot of Hollywood Apocalypse coming your way. New songs! New shows!!! LETS GO!!!
The heartbeat of the Long Beach underground isn’t found in stadium tours or viral trends; it’s found in the steady, relentless grind of artists who show up, day after day, for their city. On August 13, the Long Beach Art Theater will serve as the backdrop for a milestone celebration of that dedication: the Roaddogstv Recognition Awards.
This year, the ceremony takes a poignant turn as it prepares to honor two pillars of the local scene—the veteran rap group The Hustle Holix and the legendary Long Beach lyricist Big Supa—with legacy awards for their unwavering twenty-year commitment to the culture.
A Legacy of Longevity
For two decades, the Long Beach underground has relied on the presence of artists who hold the line. The Hustle Holix and Big Supa have become synonymous with the “International City’s” hip-hop identity, proving that longevity isn’t just about survival—it’s about evolution and influence.
The Hustle Holix have been instrumental in keeping the underground spirit alive, not only through their music but through their media presence. Their segment, Hustle Holix Hip Hop Corner on Roaddogstv, is celebrating a monumental 10-year anniversary. For a decade, this platform has served as a vital lighthouse for local talent, amplifying the voices of the LBC and bridging the gap between established legends and the next generation of North Long Beach lyricists.
Joining them in the spotlight is Big Supa, a titan of the West Coast scene whose career trajectory remains a blueprint for independent success. From his early rise with the West Coast Killa Beez—marking his indelible connection to the Wu-Tang lineage—to his relentless solo output, Big Supa has remained a constant force. With a discography that includes projects like Big Supa Tha Long Beach Pusha and 8 Dayze a Week, and his most recent power moves like the album Long Beach and the anthem “Still Banging Long Beach,” he continues to command respect as a true “Pusha” of the West Coast sound.
The Ceremony: A Night for the Culture
The Roaddogstv Recognition Awards at the Long Beach Art Theater are set to be more than just a trophy presentation. It is a moment of reflection for a community that has weathered industry shifts, economic tides, and the changing landscape of California music.
By honoring The Hustle Holix and Big Supa, Roaddogstv is highlighting the importance of the long game. These artists have chosen to build from the ground up, turning their passion into a permanent fixture of Long Beach history.
As we look toward August 13, the message is clear: while the trends may come and go, the legends who stay true to their roots are the ones who build the foundation upon which the future is written. Congratulations to both The Hustle Holix and Big Supa—thank you for twenty years of keeping the city’s heart beating.
In the attic he is bitten. Rats escape and unwittingly find sanctuary underneath the van of the paid mercenary genocidal human death machine , The Bad Soul.
The rats lay dormant in the van for days, convulsions, mutating, not awake but not quite dead incubating the disease. the twisted cocktail of bio-toxins intimately weave a new strand of sickness we find ourselves biologically fucked and now the true world order begins.
Attending an HTTH show the following weekend. The rats make their way into the club hypnotized and lethal. Motivated to kill.
The metal scene is the first to be exposed after incubation, Mojo El Diablo anti-propaganda machine greets the vermin with a war cry a work of art wrought with angst and above all else inspired for the Lost anarchy, blank pages are penned. the New New Testament is found deep within latest edition. His blood stream is saturated with enough blow to combat infection but even the sickest in society are turnt up. A suitable host for the afterlife party.
I would like to address the state of using your intuition. It’s a long journey to get to the center of You’re authentic being, especially with all the chaos surrounding Obstacles of distractions.
Immediate gratification equals third eye calcification. The hustle and bustle of the daily grind. It’s an Unconsciously long road to understanding that you always knew better the whole time by employing impairment of stopping self sabotaging tactics. Utilizing it as precautionary sense, avoiding unnecessary risk of tower damaging moments until we finally understand the true selves knew before we did. Authentic Awakening literally means before hand Knowledge is key. There is no goal Unconscious discovering never stops. We shouldn’t look for answers.
We should just listen to them.
To figure it out, go inside without a doubt
I would like to share a safety precaution with acquaintances following a distressing experience: when interacting with unknown individuals, particularly those from online marketplaces to exercise most control of enabling caution is paramount.
This is my most recent experience.
A true account of what transparency.
These indeed are actual factual
real Lifeline destiny changing events.
I posted a DVD on Marketplace and received an inquiries from an interested party. We agreed to meet at a gas station; however, upon the individual’s arrival, I noticed a discrepancy between the person in the profile picture and the one standing before me. Fortunately, I had a friend observing from a distance and my dog did not accompany me as I told the buyer
I would have with me. The buyer’s demeanor I would deem highly suspicious, and it became apparent that he had obtained my personal belongings information from a prior encounter at an event.
This unsettling experience underscored the significance of trusting one’s instincts and prioritizing safety. Most accidents occur within 3 miles of home.
Two individuals were involved that I was aware of that which leaves me three or more optional Scenario situations that could be concurring.
One pretending not to be the buyer
and another who did not match the profile picture that said he was the buyer.
Had my friend not provided support,
the situation could have escalated severely. This ordeal left me feeling apprehensive and raised major concerns about the extent to which lengths an individual would go to acquire a personal-item of mine. What is the Santa Maria is going on?
No ill forged against me will ever Prosper. I’m finally non revengeful with no choice of option in the matter as I am your mirror. When you summon unholy order over me you’ll most definitely shall receive that said blessing times three what goes around comes around by the power of three. It’s the universal flow of matter.
Consequently, I will be more cautious
in the future and advise others to do likewise. I didn’t liketo complain, but I don’t to back down either. I just wanted to throw out a little
friendly safety shout out to everyone that when you’re out at a new place may you not forget to turn your Wi-Fi off !
I noticed something very different and group stocking stalking. It’s a little bit in a long process. This way our brain doesn’t get to connect the 123 because of the time loop in between that’s where the word regret comes from knowing better but too late to do anything about it, but not today. Here we go.
This gentlemen that walked up to me
at a venue. Says I like that kiss bag Oh thank you sir
where can I get one?
Well I post on marketplace I was distracted momentarily after that, the person left. No goodbyes just gone. I observed him pulling out of valet parking
at the venue where I was attending. He stood out to me. He was a different breed than our fellow rock crew and then Suddenlyhe was just gone.
Like a bat out of hell. Before I could check out the white walls of his profile and his Choice of shoes, the mystery quickly became a memory. Never do business
with anybody that’s wearing flip-flops.
A while goes by and I check in my marketplace Messages and
there’s a gentleman in message there ~ we’ll just call him “lil d
lil d) I’m inquiring about your item for sale.
Is the DVD still available? ME) Yes it is. One weeks later ~ a new message ; Lil d) Sorry I haven’t got back to you. I was out of town. But I’m still interested.
Week later, New message ; lil d) I just drove in from
Huntington Beach. I’m in West Hollywood
Me) I’m busy doing what I gotta do when I get back to him much later
perhaps line it up for the next day He’s reply’s immediately to me It’s approximately 1130 at night. ME) I tell him I’ll meet him outside at the gas station. My friend works in there. I’ll have my Chihuahua with me.
~He says, you had mentioned you had kiss items. ~ in person later,
he tells me it’s a gift I need something for a
collectors birthday this weekend. not thinking, I take a picture of my kiss
gig bag that I only rarely really take out.
He says ~I’ll take it.
Great, I reply okay. let me know when you’re close. I’ll meet you outside
… Meanwhile, I ask my neighbor
Can you watch me out of your window
cause I don’t know this dude.
She happens to go downstairs We watch each other‘s back.
I get a message from Little D. It says I’m here …
I look over things.
Ginger to the left and I recognize as the
man in the profile picture of the
aka buyer from marketplace
I signal him with my hands to
roll his window down. I say are you lil d ? He laughs oddly and says naaaaaa
I’m like oh Ok I’m an astonished, and was a bit off my game cus I’m in pain. I only have so many hours in a day
For anybody that knows about that MS gate The first four hours are excellent but the hours following sadly I slowly slip away inter frozen swollen mid drift fused spine. scoliosis and MS triggered sort of living hell so I make sure to use the time that I have with passion projects. Out 1 day down equals two days down. I’ve been this way since the showdown few years back.
As Bonnie says to me.
“You shouldn’t walk all
the way up to that truck.
ME) But I thought that was the guy.
So I walk to the right towards this gas stations and the guy pulls in the gas
station and yells toward me. “hey Constance, it’s me”
Nothing like the redhead
that was in the profile picture.
I didn’t put it together at the time this dark haired devilishly debonaire gentlemen pulls up and rolls down the driver’s side window of his beemer.
He seemed a little nervously eager vibe
but yet calm slow cool enough with no Apparent Plan B. It wasn’t his first rodeo. He’s had something in his left hand but it’s like if his hand was on the
ground or lower front seat driver floor. so I don’t over lean my head to the
opening of the window and signal Bonnie to please come over when that happens.
He sets down whatever it is and he says “I just want the bag holding the money inside to where I’d have to reach my arm in for it and
I don’t. I stand back slightly and
I pray to myself outloud “Not today santonia!
lil d)says I’m a fan!”
~It still doesn’t register with me
I smoke and reply that I have the whole season here for you the DVDs?
Reluctantly lil d ) Yes OK I’ll take them
He commits telling me what a
pleasure it is to have met me and again that he’s a big fan of mine.
That’s it. The counter is over. I walk away with Bonnie. The other guy still parked on the left where my front door is.
Soon after I m in my casa and I see there’s a notification for a new marketplace message and I open it and it reads.. Can I have your phone number ? We discussed this other KISS memorabilia and that we would be in touch.
I give him my text number. I don’t notice that he’s called. I see a missed call. I don’t call it back.
I look at my text and now it says;
“Now, I can do this proper~
JUST IN CASE I L U You’re gorgeous. Next time we can spend more together.”
After a while, I’m stressed.
Buyer number one fake?
Buyer number two fake.
Who is who at this point
was yet to be all determined.
I realize and revisit look the
gingers profile picture after I just
rated this nice dark hair devilishly debonaire gentleman ops.
I said holy shit to myself outloud.
This is the gingersnap that was
in the left vehicle looking off the beatnik.
I remember him from walking my dog earlier before all this would facetiously happen. Coincidentally on the left Ginger
was already out there when I would get correspondence from From lil d buyer. Validating he had been stalking for a while.
The man to the left that
said he wasn’t so why was there two men ? one to my me to the left at my front door.
The other man to the right of me.
What wouldn’t happen ? if my friend didn’t watch my back? and I would’ve just showed up with my Chihuahua.
I indeed met at that man the buyer at the venue prior when he introduced himself to me. why would somebody go out of their way from Huntington Beach.
Assuming that’s true and then wait all day in West Hollywood. Im imagining wherever he was complaining that just at the strip wasnt the same ….
Just to get my kiss concert bag? My personal effect? sight unseen, no post No pic or no nothing At this point, he didn’t even know detailsz
This makes me very uneasy . We all need to watch ourself better That’s kind of rare. And fake and VERY QUESTIONABLY-UNLIKELY SAFE. Trust your intuition. The devil really is in the details and he’s very distracting. New priorities can save your life from unnecessary tower moments at bay. Slay safe out there. It’s definitely seems to be a new world without order.
We’s back with Thad Law, and his hew band Fast Hammer, and here’s what he’s gotta say.
Thad: We certainly have a blast every time we come to Hollywood, and I am sure this Nickstock will be no different. Just to clarify…FastHammer was founded over a decade ago by Toni Aleman, but I have jumped on board relatively recently. He does not know this yet, but I will refer to him as Toni “Aeolian” because of his rich minor Malmsteen tonality, and mastery of music theory, which blows my mind every time we talk about it. This is a four-piece project, and amounts to a 4-to-5-hour catalogue of juicy, guitar rich, kick ass rock/metal music. Toni handles all the guitar parts.
Any shows lined up?
Thad: Well, since last time we chatted about this, I probably mentioned the various projects I am involved with, and the notion of “drummer drama” that has tended to be the rate limiting step to progress and booking. I don’t want to jinx it or anything, but we seemed to have remedied the situation, having found Joey Aguirre, who has signed on as our permanent chairman of temporal mechanics. He is a beast, and we are all happy with what he has brought to the project. No drama or bullshit with this fucking guy. We are polishing the above-mentioned catalogue, and are fixing to throttle up the booking this fall.
How as NAMM?
Thad: I can’t recall. JK…kind of. We did not play anywhere, and it was a real in and out for me. I went out with FastHammer bass player, Darin Huska, who lives near me in Northern Colorado. He and I tend to be partners in crime when it comes to skiing, mountain biking, jamming, and putting away the beer. We spent a day and a half of walking around looking at booths and what not. We saw Tiffany sing at the NAMM jam. That is about it.
Any big shows lines ups after Nickstock?
Thad: This is how I generally see things as they stand at this moment. FastHammer is such a large catalogue of material that, in a sense, that has become the umbrella heading, and has eclipsed some of the other projects. For example, Breaking the Law is still an active Judas Priest tribute. However, since FastHammer is capable of doing so much Priest, we might say, we may commandeer an entire night, and insert a segment subhead as “Breaking the Law”, with all its unique video support and production. There are parallels for other tributes in the works, including those for Van Halen, and Megadeth. Also, I am not sure if you recall a rowdy bunch of piney rogues called “Coloradicals”, who came through here, but that is still an active punk project playing a bunch of smaller shows this summer, in the Denver metro area. The only difference is that it is now called Amongst Wolves.
What is next after that?
Thad: Well, we will just have to see about that. Honestly, I have never felt more comfortable with the lineup. Serendipity at its best. We are looking forward to the fall for FastHammer, and in the meantime, I am planning to dabble in the NOCO (Northern Colorado) punk scene.
Any last words for your fans?
Two windmills were chatting one day, and one says to the other, “what kind of music do you like?”. The other replies, “I am a huge metal fan”. That is definitely me. I love playing more than anything else.
Hello, my name is Ashlin Ashbaugh, Mojo’s new Junior editor and personal assistant. This would be my first article/column. Never done this before, so here goes nothing.
So, there’s a couple up and coming shows and events I’m going to this summer. The first show I will be going to is THROW RAG on June 20th, which are headlining the show at the Garden Amp. The Grabbers will also be there at the show. This will be my second time seeing Throw Rag. I saw them 2 years ago at the same place. FRYING SAUCERS will be in the locker room, which is the small room at the amp. They were recommended to me by Dennis M Kopczak.
The next day after Throw Rag, I’m going to Black Hole Records to see THE ORDER OF THE FLY. Owner Bill Evans of the Black Hole Records, band, NAUGHTY WOMEN, is also playing. It will be in the parking lot of Black Hole Records.
Then, on July 2nd, for my 18th birthday countdown, it’s off to the Whisky A Go Go for the METEORS and other psychobilly bands.
On July 11th, I will be also going to GUTTERFEST, which Guttermouth are headlining. Dan the Bull from CHEMICAL CONTROL is playing in the locker room at the same event.
After that, on July 18th, I will be at Reverend Horton Heat at The Observatory OC.
On August 13th, I will be at the Road Dog TV awards show, a night of unity in Long Beach, celebraing 13 years of music, art, and culture at the Art Theatre. Which I got personally invited to by G from HTTH (Who are celebrating their 30th anniversary.).
Stay tuned for my review of each event in the next issue.
People always ask me what it’s like running the LA Punk Museum. The truth is there is no museum building. There never was. Punk was never about sitting quietly behind glass. Punk is movement. Punk is community. Punk is showing up. Punk is carrying history in a cardboard box to a gallery, a club, a university, or somebody’s living room and sharing it with whoever walks through the door.
The last month has been a perfect example of that.
I’ve been bouncing between archives, galleries, universities, television projects, concerts, museum planning, and enough coffee meetings to keep a small city awake. One day I’m discussing the future of Punk School, the next I’m digging through forty-year-old flyers, and by nightfall I’m singing Kurt Weill songs and talking about the first wave of Los Angeles punk rock.
The LA Punk Museum continues its strange and wonderful life as a nomadic institution. We pop up wherever we’re invited. Galleries. Universities. Cultural centers. Record stores. Wherever people want to talk about punk history. The museum was founded on the idea that culture belongs to the people who made it, and every year more people seem interested in preserving these stories before they disappear.
I’ve also been spending time working on Punk School, a project that has grown far beyond a book. What started as a collection of memories is becoming a curriculum, a workbook, an archive, and a challenge to the idea that education only happens in classrooms. Punk taught many of us how to think for ourselves, build communities, create art, publish our own media, and survive. That’s an education worth preserving.
Meanwhile, preparations continue for what promises to be a very busy year in Europe. The upcoming exhibitions in Vienna, Berlin, Amsterdam, and Germany are bringing together artists, musicians, archivists, and troublemakers from around the world. It’s exciting to see how punk culture continues to evolve while still carrying the DNA of those first chaotic years.
One thing that never ceases to amaze me is how international punk has become. When I first got involved, most people thought of punk as a local scene. Today, I can have conversations with artists from Berlin, Vienna, Mexico City, Tokyo, London, and Los Angeles all in the same day. Different languages. Different cultures. Same spirit.
I’ve also continued my work with university archives and researchers documenting punk history. For years, people dismissed punk as something temporary. Now universities are collecting flyers, fanzines, photographs, video footage, and oral histories. The kids who were once told they would never amount to anything have become subjects of academic study. There is something wonderfully punk about that.
Music remains at the center of everything. Whether it’s revisiting the work of Kurt Weill, celebrating the Ramones, talking about Nina Hagen, or discovering new bands carrying the torch, the soundtrack never stops. Punk has always been more than a genre. It’s a conversation that stretches across generations.
And then there’s Tequila TV, which somehow continues after all these years. Public access television taught me an important lesson: don’t wait for permission. If nobody gives you a platform, build your own. That lesson still applies today whether you’re making television, publishing a zine, starting a podcast, or opening a museum.
What I’ve learned after decades in punk rock is that survival itself is a creative act. Every flyer saved, every story recorded, every young artist encouraged, every old friend remembered adds another thread to a history that was never supposed to last.
Yet here we are.
Almost fifty years after the first punk explosion, the culture is still growing, still arguing, still reinventing itself, and still finding new people who need it.
LEMMY WAS RIGHT: THE BEST EXHIBIT IN THE MUSEUM IS THE GIFT SHOP
Lemmy always told me the best exhibit in any museum is the gift shop.
So naturally, the first place I went when I walked into “Outsiders, Outcasts, Rebels + Weirdos: Punk Culture 1976–86” at the Skirball was the gift shop.
The funny thing about punk is that nobody ever expected it to end up in a museum. We were the flowers in the dustbin. We were the kids they said wouldn’t amount to anything. We were making flyers, stapling posters to telephone poles, sleeping on floors, starting bands with three chords and a bad attitude.
Now there are museum exhibitsAnd honestly? I thought it was a good show.
What struck me most wasn’t what was hanging on the walls. It was the people walking through the doors. The average age seemed to be around sixty. Veterans returning to the battlefield. Survivors checking in on their own history. But there was also a steady stream of younger visitors wandering through, trying to understand what all the noise was about.
Punk is popping out of the ground like weeds all over the world. The seeds got scattered decades ago and now they’re growing everywhere.
The Skirball is about as sterile a location as you can imagine for a movement that thrived in filthy clubs, abandoned warehouses, rehearsal spaces, and somebody’s living room. Yet somehow it works. Maybe because punk was never really about the location. Punk was about the people.
The gift shop was packed. I was told they can’t keep punk buttons in stock. The staff members were wearing them. That alone made me smile. The revolution may have been commercialized, but at least people are still wearing the uniform.
One of the highlights was meeting the manager of the gift shop, a leather smith from Los Angeles. Good people. The kind of people punk has always attracted. Creative people. Makers. Outsiders. The folks who build culture instead of consuming it.
The exhibition itself was assembled by curator Cate Thurston and guest curator Michael Worthington, who clearly understand that punk wasn’t just a sound. It was a community. A network of outsiders finding each other.
Walking through the galleries, I couldn’t help thinking about all the people who aren’t here anymore. The musicians, artists, promoters, photographers, zinesters, club owners, and weird kids who made this thing happen. They probably never imagined their homemade flyers and battered jackets would someday be displayed behind museum glass.
Yoko Ono’s Los Angeles Dreamscape
The first thing visitors encounter at Yoko Ono: Music of the Mind is an enormous portrait of the artist herself. She sits cross-legged in a sparse room, calm and centered, as though waiting for us to catch up. It is the perfect introduction to an exhibition that is less about looking at art and more about participating in it.
I attended the pre-opening in Los Angeles and found myself immersed in a world where art refuses to stay quietly on the wall. Visitors danced beneath flowing black fabric suspended in bright white space. Others scribbled messages, drawings, poems, and dreams on walls and ceilings, reaching as high as their arms would allow. One room has become a vast ocean of blue ink, layer upon layer of human expression accumulating over time.
Standing inside that room feels less like viewing an artwork and more like standing inside the collective consciousness of Los Angeles. Names overlap drawings. Hearts sit beside political statements. Simple sketches coexist with elaborate illustrations. Thousands of individual voices become one giant conversation. The room itself becomes the artwork.
Nearby, German helmets hang overhead like strange parachutes filled with puzzle pieces. Visitors are invited to take one home, carrying away a fragment of a larger whole. It is a simple gesture, yet profoundly moving. We leave with a piece of the puzzle and a reminder that none of us ever sees the complete picture.
The exhibition includes one of Ono’s most famous works, Cut Piece, the legendary performance in which audience members were invited to cut away portions of her clothing while she remained seated and silent. Decades later, the work still confronts viewers with uncomfortable questions about power, vulnerability, consent, and human behavior. There is also a shattered window marked by what appears to be a bullet hole. The image strikes the heart immediately. Ono has always understood how a small visual gesture can open an enormous emotional space.
I had the privilege of seeing Yoko Ono’s work in London last year, and this Los Angeles presentation only deepened my admiration. There appears to be no limit to the territory her imagination is willing to explore. Long before I understood Fluxus or conceptual art, Yoko Ono was one of the first avant-garde artists I followed. She represented a world where art could be an idea rather than an object.
Which brings me to the Beatles. History has not always been kind to Yoko Ono. For decades she was blamed for breaking up the world’s most famous band. Yet standing among these works, that narrative feels increasingly absurd.
I remember hearing stories of the Beatles in Hamburg, singing in German, wearing leather jackets, and playing marathon club sets before the machinery of superstardom took hold. Their original spirit was experimentation, rebellion, curiosity, and artistic risk. Yoko Ono did not destroy that spirit. She embodied it.
The Beatles were always going to evolve. Every great partnership eventually changes form. What matters is that the creativity continued. John Lennon continued. Paul McCartney continued. George Harrison continued. Ringo Starr continued. The music survived. The art survived.
Debuting in 2014, Screaming Soup! broke ground as the first fully animated horror host show and has been helping evolve the honored TV tradition for audiences of the 21st century. Starring a gas guzzling, laser slinging skeleton cowboy named Deadwest with his apocalyptic goat for a sidekick, Billy, the duo constantly find themselves in outrageous misadventures in the Wild Weird West while reviewing B movies they think horror fanatics should check out or even avoid at all costs. Currently in its sixth season with over 50 episodes and counting, Screaming Soup! has entertained fans with chainsaw arm wrestling, jurassic rodeos, big top bar brawls, and over 300 movie reviews plus interviews with fan favorite horror icons like Kane Hodder and Danielle Harris. In addition, the web series has survived a season long crossover with Charles Band’s Full Moon Empire, regularly guest stars other contemporary horror hosts, and features cameos by vocal powerhouses like Roger L. Jackson, the voice of Ghostface from the Scream movies. Recognized for its alternative approach to horror hosting, Screaming Soup! is a recipient of the Silver Bolo Award on Joe Bob Brigg’s Last Drive-In on Shudder and won the coveted Rondo Hatton Classic Horror Award for best documentary of 2023 for Screaming Soup! Presents the Attack of the Killer Tomatoes Retrospective, a three hour documentary on the history of the Attack of the Killer Tomatoes franchise. Screaming Soup! can be found across most social media outlets with its homebase at ScreamingSoup.com, and is currently working to produce toys, books, and trading cards in the near future.
Watch Screaming Soup! online and join animated horror hosts Deadwest and Billy on all their misadventures in the Wild Weird West as they review B movie fright flicks from yesterday and today!
As a member of the Marginalized Moderate Majority and an Ideological Ⓐnarchist, who has had to pay taxes and adhere to unfair bullshit laws my whole life, I have never voted for any so-called “politicians” or any “initiatives” to allegedly “change laws”, etc. even once in my entire lifetime.
That is because as having been an anarcho-punk since my pre-teens, starting back in 1979, I have always known that we do not actually live in a so-called “Democratic Republic”, but rather that we live in a Corporate Dictatorship ruled by a Shadow Government where “politicians” are just “bad actor” poster boys and puppets putting on a false left-right paradigm shit-show sham and charade under the direction of their marionette masters who are pulling their strings, which is meant to placate “We The People” in to believing that we actually have a “voice” and thus a “choice” in our governance through an alleged “voting system”, and to thereby keep us “in line”, docile and working for them like good little farm manimals, but that in fact we actually do not, because if voting was real and actually changed anything then they would just make it illegal like they do everything else that doesn’t line their pockets, advance their agendas, or that they don’t profit from in some other way.
And it is also done to keep us divided, distracted and thus off-kilter by keeping us at each other’s throats while they simply slip their nefarious agendas in to place and write them in to law right under our big, dumb, easily-duped noses.
Therefore I, and anyone else who knows these things I’ve stated to be true, in fact DO have the right to complain about them all I or they want, and I will continue to do so contrary to and regardless of what any of the duped sheeple think if they can’t even see the fake engineered society, false reality and gilded cage that the Shadow Fucks have created for us all to live in and to serve them, and if they really still believe that their stupid fucking “votes” actually count for fuck all.
So those who like to tell people that they don’t have the right to complain if they don’t participate in the voting sham that they’ve blindly bought in to really need to watch this eye-opening video called “The Story of Your Enslavement” and wake up and learn the truth if they think otherwise…
He’s been a part of the underground for the last 28+ years, writer, actor and musician Christiaan Pasquale known to many as Christian Slanderin from the Psychobilly band The Slanderin.
The Slanderin began at the infamous Al’s Bar, what brought the band together?
We were all part of the same scene and kinda based around Epitaph. I was writing for Hellcat magazine, Charlie Ackerman who was Brett Gurewitz Godson, was putting out the magazine and Greg Lee from Hepcat knew I was a writer and told him he should publish my stuff and he did. That’s how I met Mauricio Arguetta hanging out in Silverlake, Echo Park, East LA , there was a lot of punk stuff happening there. Skunk Draino I met at Al’s he was a deathrock guy at the time playing with Ginger Coyote at the time, but it wasn’t working out. The first lineup I ever had that recorded a song was me, my ex-girlfriend Andi Beltramo from a band called Snapper, Tom Curry from Kommunity FK and Skunk. But later we met Everett Thompson when I was working at Retail Slut on Melrose. He joined and then it was me, Mauricio and Everett until Skunk left SnapHer and we became The Slanderin in 1999. Our first show was out in Brea at La Vida Roadhouse with Hellbound Hayride on NYE.
What do you miss about The American?
I miss it a lot, that was a huge part of my life for a very long time. I moved there in 1996-2006 then back in 2014-2016 so about 12 and half years. Back in those days it wasn’t gentrified and built up like it is now. It’s unrecognizable. You know it was Al’s Bar, the American Hotel, Blooms General Store on the corner where I worked. Soul Folks the soul food restaurant next to Blooms and a coffee shop across the street. At that time in the Art’s District, there’s, I don’t know, between our corner (Attraction and Hewitt), the Santa Fe Art Colony and the brewery there was probably 800 people that made up that scene and then all the bands that came through and played Al’s, it was just a great community. Otherwise, it was quiet. There was nothing down there, just warehouses, empty warehouses, mercantile shops, it was just our little scene, and I miss it a lot.
How has the Hollywood scene changed?
Well, it didn’t change as much as it disappeared. All the great avant guard alternative music that’s happening is happening on the east side. Highland Park, East LA, some parts of Downtown, Silverlake but that’s it. I mean in terms of Hollywood you have the occasional stuff at the Roxy or the Whiskey, but that’s a rare occasion. I don’t know what’s happening at the Troubadour. The Key Club is gone, Knitting Factory is gone, Dragonfly is gone, the Garage is gone, Goldfingers, Mr T’s Bowl, so much of it vanished in the wind. Alex from Los Creepers is an old touring buddy of mine. He is still putting on good shows at the Offbeat Bar in Highland Park but that’s where all the alternative music is going. It’s not Hollywood anymore, it’s just a graveyard.
What were your influences?
I mean, that is a wide breadth of different genres and stuff. Everybody from Tom Waits and Leonard Cohen, in terms of punk, of course, The Ramones, you know, Rancid were a big help to us. The first 2 Rancid albums are classic. All the LA punk bands, X, X was the first show I ever went to when I was in 5th grade. X and The Blasters. Love that stuff. That kind of gave me a vision you know, the past like, you know there were Rockabilly dudes and punks slam dancing in the pit and that image stuck with me which later led to psychobilly. It was almost inevitable because punk is just good rock and roll and rockabilly is like that old rock and roll chords and psychobilly just plays it sort of up tempo with B-movie horror imagery and all that stuff. As a kid I grew up in Orange County so like Social Distortion, DI, Adolescents, Agent Orange all that stuff was really my first impression of what teenagers were doing. I was probably 10 years old and all those guys were like in high school, and I’d watch them in the alley behind my house skateboarding and playing music and being rowdy. Probably the biggest influence of all is The Cramps.
What was your favorite song you wrote?
I keep going back to one call “Condemned” because I wrote it really quickly. I wrote the arrangement in like 5 minutes. It’s kind of like a three geared song (low-medium-high) speed song and it’s simple, it’s only 2 notes. The lyrics came to me in 5 minutes and are just one of those songs that came together really well and are really powerful. It’s got a big crescendo at the end, and it’s a favorite off the Blue Rambling album. Our last album and weirdly enough we didn’t tour around.
Being a support act on the Rancid tour what’s your favorite memory of that tour?
We never got a support role touring with Rancid but did open on both coasts in LA and New York. They knew me from my writing with Charlie and Hellcat magazine and when he started Destroy All Monthly I had a monthly column call the Christiaan Bible. It was just a bunch of short stories and funny takes I had, and Lars also wrote for that monthly. So did Keith Morris from the Circle Jerks. Lars and Matt Freeman came and saw us play the North Beach Festival in San Francisco and we killed it. Lars came up afterward and told me we should do some things with Devils Brigade which was Matt’s psychobilly band and we talked about it but it never happened. Then for the LA show I was in the hospital and the crown sung my parts then in New York me and the original lineup had a falling out and I was backed by the Arkhams. Epitaph dropped us shortly afterwards I’m guessing too much baggage to take a chance on us. Lars, Tim and Matt are fucking awesome and still play us on the Sirius XM channel and helped us grow our popularity. It was an honor to support those guys.
What’s next on the horizon?
I’m working on the 6th book but haven’t had luck raising the funds to get it published. I’ve been going through some hard times in the last 3 years. I mean, just one knockdown after another and got laid off. I have been working ride share and I barely make my bills monthly and just haven’t had the money to raise it, but I’m catching up. You know it’s crazy I’m working 50 hours a week and having to file chapter 7 bankruptcy. I’m contemplating putting it out as an E-book maybe by the end of summer. It’s called “Agents of Cool” which is about my early years in LA, being 19 living in Hollywood, being part of the punk scene, going on tour with Hepcat as their tour manager. It’s where it all started for me. I’m also working on a new band called Vitrolix more garage, surf, punk. It’s a mixture of all good things that make rock and roll basically, we have 4 songs recorded.
this weekend.
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