Shitty Children’s first show

Usually, I only stay in a city for a week or so before moving on to the next one. Chris and I decided to post up in Chicago for a good chunk of the summer though so – as long as we were gonna be around – Mike asked if we’d like to start a band with him and Dave.

Chris and Dave had played together before, on Rational Anthem’s 2009 summer tour, back when I was still doing all of the band’s booking. Rational was down two members and I recruited both of them to fill in. Mike sings and plays guitar in Like Bats, whose records I used to release on Traffic Street. Dave also plays in Like Bats these days (bass) and played guitar in my band, Troublemake, on a couple records. Anyway, in Shitty Children, the line-up is Mike on drums, Dave on guitar, and Chris on bass; I sing.

Last night was our first show and we played five songs. One was a Cleveland Bound Death Sentence cover and the other four were things Mike’s been working on for a while that didn’t make sense as Like Bats songs. He wrote the lyrics for one and I wrote the lyrics for the other three. We only practiced the set altogether twice – once the night before the show and then again just a few hours before the show started. I was really nervous going into it. It’s been four years since Noelle got sick and I subbed in as Rational Anthem’s singer one night in Manhattan. It’s been six years since Troublemake played and I sang my own lyrics in front of an audience. But this wasn’t just my first time singing in a really long time, it was my first time singing sober ever. I had never gotten up on a stage before without being some kind of fucked up. I was so nervous last night that I shook throughout the whole set and so out of my element that I was unable to articulate anything that I had wanted to say in between the songs. When one song would end, I’d just anxiously wait for the next to start. Now that I’ve seen the videos of our set though, I feel a lot better about it. I think we actually did pretty well.

Here’s the first of those five videos. We play a short intro before transitioning into our first song, which I haven’t titled yet. (Scroll down for the lyrics though).

The dumb smirk plastered on my face, like the crooked smiles that I paint and all of my clever, contrived slogans, quips, and tag-lines… All the things I do and say are just designs to garner sex and praise. But – sometimes – I really despise the way that I don’t even try at all to hide my stupid pride. My vanity’s embarrassing.

Unpredictable mood swings. No self-esteem.

I’m so in love with myself; I’m so disgusted with myself. I’m a shame and I’m ashamed. I’m a joke; I’m okay. I say I’m living out my dreams, like I have any clue what that even means. I laugh and smile all the time. Except when I’m preoccupied with anxiety. I find relief in suicidal fantasies.

Went back home, sat alone in a park with my phone. I’m  too insecure to just pick up and call you. I wouldn’t want you to think that I might need you. I’d rather sit stuck in my rut between unpredictable mood swings. I have no self-esteem.

 

We’re gonna record a demo before Chris and I leave town and we’ll probably play at least one more show too. Whether or not the band continues to exist beyond that, I’m not really sure, but there’s no reason we couldn’t get back together every so often to write/record more songs or even go on tour. We’ll see what happens.


Bleed Blue / last week / Chicago now

"Bleed Blue Tattoo." 7/5/14. Ink. 11x14".
“Bleed Blue Tattoo.” 7/5/14. Ink. 11×14″.

With all the tattooing I’ve been doing myself lately, it kind of makes sense that I’d do some work for an actual tattoo shop. (Or maybe not?) In any case, this commission came in two nights before my own tattoo career started. On my way to Minneapolis for Cleveland Bound Death Sentence, I stopped in Lexington. My buddy, Chris, works for Bleed Blue Tattoo and, while we were there, I met the shop’s owner, Tommy. Being the self-promoting little fuckshit that I am, I (of course!) told him about my artwork.  He was cool enough to  commission me to design a shirt for Bleed Blue right then and there. He was also cool enough to tell me I could do whatever I wanted – so I did, right down to the sort of overly-personal text that I put in virtually all of my pieces. The only real guideline I gave myself was a limited color palette since  I knew that – when it comes to silkscreens – more colors means higher printing costs.

The text says: “I am an anxious mess of a human being but I’ve got high hopes once Mercury’s no longer in retrograde. Maybe I’ll start getting laid again.” I wrote that the night I started the piece in St. Louis. By the time I finished it a couple days later in Minneapolis, Mercury was no longer in retrograde and I had started getting laid again. Isn’t it nice when stories have a happy ending?

As if all that weren’t great enough, check out the week I just had, selling and making art at punk shows around the midwest:

June 29: Lexington, KY w/ Rational Anthem.
June 30: Cincinnati, OH w/ Masked Intruder, The Dopamines, Direct Hit!, and The Priceduifkes.
July 1: Bloomington, IN w/ Rational Anthem and The Razor Ramones.
July 2: St. Louis w/ Masked Intruder, The Humanoids, Direct Hit!, and The Priceduifkes.
July 3: Madison, WI w/ The Transgressions, Rational Anthem, Lipstick Homicide, and Spruce Bringsteen.
July 4: Minneapolis, MN w/ Dillinger Four, The Brokedowns, Masked Intruder, Direct Hit!, The Priceduifkes, and Canadian Rifle.
July 5: Minneapolis, w/ Dillinger Four and Night Birds.

Anyway, for now, I’m in Chicago (where I’ll probably remain for most of the summer). Then again, have I ever stuck with a plan? Either way, shit’s cool right now and I’m excited about everything I’ve got in the works. And I’ve got a bunch of new pieces that I’ll add to the site soon so… Cool.

Here are some tunes from some of the bands that have been rad enough to host me lately:


“25 to Life” by Masked Intruder


“Thinkin’ ‘Bout Ya” by Rational Anthem

“Snickers or Reese’s” by Direct Hit!


“Captain, We’re Drinking” by The Priceduifkes

Music video for “Wizard Symptoms” by The Brokedowns

“Like Sprewells on a Wheelchair” by Dillinger Four


“Moody’s Point” by Lipstick Homicide


“Wasteoid” (originally by The Transgressions but performed here) by Spruce Bringsteen (that’s a two in one)!


TEN YEARS LATER UPDATE!?!? (December 2024):

I don’t think Bleed Blue ever actually printed these shirts so I went ahead and kinda removed their affiliation and made it wholly my own. You can buy a print of the new version in the webstore.


My problem with punk’s problem (with women)

I’m so fucking sick of discussions about “punk’s problem with women” that make reference to the Warped Tour and its “ShiraGirl stage.’’ I don’t give a fuck about the Warped Tour and I don’t really see what the fuck it has to do with punk rock in the first place.

The last DIY show I went to was five days ago in Madison. Two of the bands playing were Lipstick Homicide and Rational Anthem, both fronted by women. The last band I bought a shirt from was The Turkletons, a band in which lead vocals are traded off between the guitarists – one male and one female. The last set of records I bought from a distro were three 7-inches – by Boys, Pity Party, and Skinny Genes. Only one of those doesn’t prominently feature women and that’s only because it’s a solo effort by one guy. But that one guy’s active band is Science Police, of which two of the members are women.

The gender of the performers wasn’t even a thought (until this morning when I read another of these articles and asked myself if there was any validity to its criticisms). I don’t support any of those bands because they have women in them; I support them because they’re great punk bands. When I interviewed Rational Anthem for Razorcake, I asked singer/guitarist Noelle Stolp about gender and punk rock. She said and I quote: “To me – I don’t really fucking care. I don’t feel any different. I just know that I can shred better than some dudes and it kills their self-esteem as well as their boners.” Beautifully fucking articulated.

Punk rock is whatever the fuck we want it to be. If you don’t like the shows being booked at 924 Gilman or Charm City Art Space, become a member and book your own shows (one of the only rules to do so is “no sexism”). If you don’t like the coverage in zines like Maximumrocknroll or Razorcake, write your own articles, conduct your own interviews, and they’ll print them! And if you feel like whatever group you identify with is underrepresented in punk, then start a band, put out records, and go out on tour.

Are there sexist attitudes in the punk scene? ABSOLUTELY! (Kind of like how there are sexist attitudes – oh, I don’t know – EVERYWHERE). Is that a bummer? Of course. But I think we do a way better job (in the punk scene) at being inclusive and open to people of all genders, races, ideologies, etc than 99% of the rest of this planet (and we’ll continue striving to be even better). Punk rock is important to me so I’m sorry if I’m getting defensive but I don’t appreciate all the shit you’ve been talking on this scene that I love and that so many of us (male and female) work so hard for.

See you in the basement (not at the Warped Tour).


Girls / Love / Sex / Pop Punk

"Girls / Love / Sex / Pop Punk." 6/11/14. Ink. 8¼x8¼".
“Girls / Love / Sex / Pop Punk.” 6/11/14. Ink. 8¼x8¼”.

I don’t like to do non-expressive / cartoon art these days. It’s too hard; I don’t have the technical ability to do it in anything close to a reasonable time frame.

But I do love Rational Anthem (the kids and their music)| and their choice of “Autobiography,” as the cover art for their new record, was a huge honor. And that meant it was suddenly necessary to produce a little something extra (in that same style)| to grace the LP’s lyric sheet. And though my art for their last lyric sheet was absolutely in sync with the theme of that album (and not as half-assed as it might seem), it still meant that I needed to deliver something a little more substantial this time around. (Especially since they – you know – pay me for this stuff).

Originally, I was gonna do a unique cartoon for every song on the record but I don’t have the time or patience for that stuff these days. I think this one image efficiently nails the gist of their album. It certainly covers the bulk of Hembrough and I’s late-night, hours-long phone calls (through which we’ve solved all the problems of the modern world).

I drew this approximately five months after I said I would but it all works out that I’m just sharing it now ’cause it ties in to some of my plans. Spillane and I decided earlier in the week that we’re going to meet up with Rational Anthem somewhere in the Midwest near the end of the month and join them on tour for a week or so. It’ll give me an opportunity to hang with them, see a lot of friends in
cities I rarely get to anymore, rapidfire-hit a bunch of galleries in different cities, and sell prints at their shows each night – where I’ll ALSO get to watch Rational Anthem play every night, along with a handful of other bands that I’m really excited about. THE TRANSGRESSIONS being a particular standout. (I used to
release all of their records on Traffic Street and they folded around the same time my label did (for pretty much the same reason). This will only be their second show in years and it’ll be the first time I get to see Ben since we were both all fucked up on heroin). I’ve got a lot to look forward to and a lot to be excited about right now.

The full insert looks like this:
LP-insert


Listen to “Lloyd Christmas” by Rational Anthem

http://youtu.be/UFm2-sQ2TL8
Listen to “17” by The Transgressions


Where Do Rats Go When They Die?

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Minneapolis has been on my list of cities to hit. Cleveland Bound Death Sentence reuniting to play Extreme Noise’s 20th anniversary seemed like a good excuse to be impulsive, bail on Asheville, and spontaneously trek halfway ‘cross the country.

We overnighted in Lexington and Chicago along the way since CBDS doesn’t play ’til tomorrow afternoon. We’re just pulling out of Chicago and making our way north now. 11 PM is a little later than I’d like to be heading out but we don’t operate on a schedule and it’s hard to walk out of Dave and Mike’s place. I just have too much fun with those kids. They definitely come across as jaded, grumbly, curmudgeonly old men (who are actually five years younger than me) but that’s also definitely part of their charm, since they’re secretly some of the warmest, funniest kids around.

I met Dave in the Baltimore punk scene – mostly around Charm City Art Space – back when we both lived out that way. And he met Spillane when I recruited both of them to come on tour with me and Rational Anthem back in 2009. Neither of them had even been on tour before and this one was TEN WEEKS long. (They’re both fucking warriors after surviving that thing).

I met Mike that same year. His band had just recorded their first demo and a friend in Ohio tipped me off, thinking I might be interested in them for Traffic Street. Their first tour included a house show somewhere in Maryland. I went out to meet/see them and brought ’em back to DC for a day or two after. We’ve been friends ever since.

So the plan was to hit the road earlier in the day but we stuck around ’til now, doing mostly nothing, just joking around, having fun. We did go out to Logan Square for a few hours though and I got to finish my latest painting (“Something to Cry About,” which I’ll post later in the month). Anyway, one joke led to another and I wound up giving Dave his first tattoo. It’s on the front of his right thigh, just a couple inches up from the knee. The caption comes from something Mike said this morning in a sleepy haze: “Where do rats go when they die? I don’t mean, like, in a spiritual sense…”

I’m looking forward to coming back to Chicago real soon.


Punk Rock Today is Better Than It’s Ever Been

"Punk Rock Today is Better Than It's Ever Been." 5/28/14. Pen. 4½x5¼".
“Punk Rock Today is Better Than It’s Ever Been.” 5/28/14. Pen. 4½x5¼”.

Back in February, I was lucky enough to get to work on a painting and set up a print table at a couple shows some of my favorite bands were playing. On the second night, I asked my buddy Mike (who runs Dead Broke Rekerds) if I could scoop up some records in exchange for some artwork. He picked out a print and asked if I would draw something for a Dead Broke sticker. It took me a while ’cause I was stressing out, worrying about whether or not Mike would like whatever I came up with. As soon as I decided to drop the anxiety and just do what came naturally though, it was done in no time and I had this design. I’m really happy with it – in large part just because it’s so radically unlike the kind of art that a band or label would normally use for a sticker design.

I don’t think I met him just then but the first time Mike and I crossed paths was in late 2006. His band, Down in the Dumps, was in Florida to play The Fest and I caught their set in Tampa at Transitions Art Gallery (now Epic Problem). In my mind, this was right around the time when DIY pop punk was really blowing the fuck up (in an incredibly relative sense) and getting awesome/exciting again. Off With Their Heads released Hospitals, started their never-ending tour, and were in the midst of the flurry of 7-inches that they’d release leading up to their first full-length for No Idea. 1-2-3-4 Go!, Kiss of Death, and A.D.D. were all fucking killing it with bands like Ringers, Snuggle, Drunken Boat, Monikers, Witches With Dicks, Tiltwheel, Chinese Telephones, and Pretty Boy Thorson & The Falling Angels. Labels like No Breaks, It’s Alive, Dirt Cult, and Salinas were similarly picking up the pace, building incredible catalogs, and (soon enough) inspiring me to do the same. Banner Pilot self-released their first record. The Brokedowns put out “New Brains For Everyone.” Blotto was on the other side of the Pacific, churning out 7-inches at the same rate as Off With Their Heads, (mostly for Snuffy Smile, who were also tearing it up on the label side of things).  And shortly thereafter (or right around then), we got the first records out of Dear Landlord, The Measure, The Gateway District, Dead Mechanical, The Humanoids, and The Steinways.

But I’m getting carried away… the FIRST band to play at Transitions that aforementioned night in October 2006 was Down in the Dumps. They were the only band on the line-up I didn’t know anything about. And they were fucking awesome. It was everything punk rock’s supposed to be: grimy, coarse, fucked up but catchy and upbeat (sonically, if not in content)Mike played bass and sang. And as I’d later find out, he was also the guy responsible for Dead Broke Rekerds, whose catalog now boasts a whole slew of my favorite records.

After I moved to DC for law school and started my record label, Traffic Street, the first bands to come through Baltimore and stay at my place were Iron Chic and Jonesin’.  Mike played bass and sang in Jonesin’ and – though he wasn’t at the time – is now the bassist in Iron Chic as well. Both bands mean a lot to me. One of Traffic Street’s final releases was Jonesin’s EP, “The Dream is Dead.” And – going back to the beginning – #001 in the Traffic Street catalog was a 7-inch compilation called “Dangerous Intersections,” which was not only my first vinyl release but also Iron Chic’s first appearance on vinyl (and only their second release overall, following their five-song demo).

Before Traffic Street collapsed under the weight of my mental health issues and heroin addiction, Mike and I were in regular contact, states away, trading our releases for our distros, talking music, making fun of each other, and – every so often – crossing paths again when I’d book a show for Iron Chic or he’d book one for Rational Anthem (who, coincidentally, shared the A-side of “Dangerous Intersections” with Iron Chic). When it all went wrong for me, he continued to stay in touch, checking up on me periodically, wishing me well, and even sending me a slew of records in the mail while I was in rehab. He’s continued being a source of support since I’ve been back in the real world too. He’s a great friend and a veritable fucking pillar of DIY punk rock. I’m honored to have my art featured on one of his label’s stickers.

AND REGARDING “punk rock today” and the claim made by the title of this piece… Allow me to present some audible evidence! Here are songs from the records Mike traded me that night back in February, as well as some recent stuff by other bands I’ve mentioned (and some by bands that spawned from their ashes).


“Babyboo” by Unfun


“Snow Angels” by Murmurs


“Wolf Dix Rd.” by Iron Chic


“I Wish I Could Be Happy” by Rational Anthem


“Not Cool” by The Slow Death


“Old Man Yells at Cloud” by Skinny Genes


“This Future Sucks” by The Brokedowns


“Hey Caroline” by Dear Landlord


“Look” by Science Police


“How the Day Runs Down” by Dead Mechanical


“Start Walking” by Off With Their Heads


“Hold Fast” by Banner Pilot

And even though they’re not technically “punk rock today“…


“‘Lone” by Jonesin’


“City of the Living Dead” by Down in the Dumps

Oh! AND… I think I like the black-and-white version better but since I can’t resist coloring anything and everything, here’s what the finished, physical drawing looks like (though the stickers will still be black-and-white).

"Punk Rock Today is Better Than It's Ever Been" (with color). 6/1/14. Ink. 4½x5¼".
“Punk Rock Today is Better Than It’s Ever Been” (with color). 6/1/14. Ink. 4½x5¼”.


North Carolina

Just got to Asheville from Atlanta. The plan for tomorrow is pretty geographically unspecific: I gotta make the insert for the new Rational Anthem LP that I’ve been putting off forever. That – plus a bunch of practical/non-art related errands – should soak up most of the day.

Atlanta: Chris and I set up at Summerfest in Virginia Highland over the weekend and made some money selling prints. Leading up to that, I went around to a bunch of galleries but didn’t really pitch myself to any of them – having decided that the better approach might be to just send portfolios to each one, rather than stopping by unannounced and hoping for the best.

I’m not sure if that decision is more the result of insecurity or of wanting to be considerate / play by the rules. Even if it’s the latter, I’m not necessarily sure it’s a good move. Either way, the consequence is that it’s no longer incredibly necessary for me to be living on the road and traveling to all these different cities. Still, I don’t think it’s a bad thing either. If I were stationary in one city, I might be more productive in terms of actual painting but it’s just as likely that I’d get caught up in and distracted by a relationship (or friendships or [whatever]). For now, I think that living this way still makes sense. (Plus, I enjoy it – stressful as it might be at times). But I’m not totally certain that I won’t decide to simply post up for a good while, somewhere along the way , at least until summer’s over and I can move around the east coast without feeling like I need a shower every time I step outside. I’ve sold enough these last few months that I could hide out and do nothing but work on new paintings for the rest of the year. As much as I might like that though, I know I gotta keep putting myself out there and selling myself in some sense. I’ve got too much ambition to do otherwise. And I’m energized by all the feedback (monetary and otherwise) that I get when I do. I can’t exist in isolation.

My thinking right now is Asheville for about two weeks, finishing my current painting (which you can see pictures of on my Instagram and Facebook pages), waiting for the mailman to bring my digital portfolio CDs so I can mail out a hundred of them to galleries around the country, (at the very least) scoping out the galleries here in Asheville, and setting up a table somewhere downtown a few days each week to meet people and share/sell my prints and statements.

Here are a couple things I made for Rational Anthem last month. The first is a poster, the second is a koozie design.

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