Notes,Views,Guides,and Opinions

                                 Labels Are Fucking Up Everyone

Why cant we all get along!? Our view of what being a punk is totally fucked. We got people thinking that Avril Levine is a poser, and good charlotte is totally made up for the media. Why? They are just doing what so many people have been trying to do, and as soon as they get a shred of attention we cut them up. They are doing their style and maybe they are being influenced from a whole lot of things. Todays definition of punk should be a lot broader than it is. Its music- yes- and people listen to it, that doesnt mean that they have to dress a certain way or act a certain way. Of course there is a punk style that some people want to follow, but that doesnt mean that is what punk is anymore. You can listen to punk and you dont have to follow a certain code. Get over it people. Why the hell do you call everyone posers? It pisses me off. They are just doing what they want. Take it as a compliment because they see what you are doing and they like it. They are getting ideas. So what- they arent as hardcore as some of the heavy punkers. That doesnt mean they are posers.

Punk isnt dead, its redefined.

That tends to happen from time to time so dont get all wound up about it. Rather then slapping labels on people as to what they are, be it punk, prep, skater, rocker, and nerd, whatever- open your fucking eyes. You can be whatever you want to be. Style defines your mood. Peoples moods are forever changing. You can wake up one day and decide that you loved that wicked guys edgy style that you saw at the mall and decide that youd like to pick some of it up. That makes you susceptible to change. Stop saying that punk is dead and you have all these people messing around with it. Thats not even close to what has happened. Youre all so worried about keeping your music hidden and fresh and secret for only you to have. As soon as it gets into the hands of everyone else you think that it has become a fad and youre no longer interested in it. Why!? I mean dont you think that when you love music and you are totally into it that you want other people to be able to see just how good it is. Dont you want other people to be able to experience what you feel when you put in a rad record.

Isnt it true that being a teenager most kids want to rebel and most kids have a voice that they want to be heard? When youre a teen is when society stereotypes you and you do have an attitude yes and you want it to be heard. So if teens grab a punk record to listen to that attitude then thats a good thing, its not posing as something that they are not- because that is exactly what they are.

Punk is redefined and its not such a narrow ideal anymore. You can be whatever you want to be. And it doesnt have to be one specific style or type of music or whatever. Have a taste of everything and mix it up a little. That doesnt mean that its dead. Its just bursting with a whole lots more. And that should be a good thing. Times are a changing. Deal with it. Who gives a fuck about major corporations and fad sellout bands, if you dont like it, who cares? Maybe someone else does that isnt a bad thing. They just relate to their music. Why are you so determined to only listen to things that nobody has heard of? Isnt it a good thing when a band can get their message out to more then like, five people? If they have something to say and they get people into their shit then all the more power to them. Mainstream isnt bad you know. People can share music its a good thing. Like fuck, get over trying to be all 'new music nobody has heard and nobody never will' its music and its meant to be shared.

Punk isnt dead and gone- its everywhere and more alive than ever. Stop trying to be so tough when your 80 and sagging on the floor you want to have the memories of the good old' days. Not the days you spent bitching about everything under the sun. Who gives a shit? End

It makes me laugh when I see kids that think theyre punk and only listen to shit like Good Charlotte, New Found Glory, and Simple Plan. I almost laugh even more at the kids that like NOFX and other semi-mainstream bands. The ones that only like them so they can be different from the people that like GC and say that they listen to real punk. Now that makes me laugh. I dislike when people listen to the semi-mainstream music and have those retard saying and their profile and shirts like "you laugh because Im different I laugh because youre all the same." yeah youre the same as every other stupid fucking mall-punk and mall-Goth who bought that shirt at hot topic. Half the crowd at warped was like that last year, I dislike kids like that.  Theyre poseurs just much as the people that listen to GC that think theyre punk. I see this horrible disease going away as soon as the pop punk thing goes away, Of course as soon as that goes away there will be the people that say they are true to punk and will always be it.  Most of the people that say this will be the ones that listened to GC. Those people are living a lie because they never really got into the complete underground and culture of punk, the only knew what MTV, hot topic and the warped told them and had to offer. End

Who gives a fuck if bands like Rancid sign on a major label, as long as they don't turn into good charlotte, right? Which they wont, who gives a fuck? Thats the point I'm making. If a band signs on a major label and gets popular, as long as their music isn't completely changed to cookie cutter pop, who gives a shit? Some bands get signed to major labels because they are that good, that they play a style of music that can sell, not that they can change to become music that can sell. I guarantee you if rancid had to make shitty pop music with Warner, they would've never signed. You people need to realize the facts and get through the fact that they can sell music and some other bands can't. If you could make it mainstream why wouldn't you? Going mainstream isn't selling out. When you're in a band and can go mainstream, why wouldn't you fulfill your job to the full potential?

G.C. and Simple Plan are not punk.
G.C. and Simple Plan suck.
G.C. and Simple Plan are boybands with guitars. etc. etc. etc.

G.C, and Simple Plan aren't really sellouts.....they just suck!!!! 
Yes, I get it. Nobody likes them, and if they do, they don't want to admit it. I think we all get it. Everyone is caught up on this topic, we all understand. Shut up about it already and move on, there are other 'real' punk bands that you could be talking about. Why not suggest some good bands to people, spread the word of your favs.
So please fucking drop the G.C. and Simple Plan topics it's fucking over.

Essay

1) What do you think the ethics of punk today are?
2) Do you think they have changed to those of the 70's?
3) What do you think the most important aspects of punk are?
4) How do you think, if at all, they have changed compared to 70's punk?

1) There are no ethics.

2) Yes, punk was more pure then. There wasnt every big corporate whore trying to make the backstreet boys of punk. In the 70s it was more about making music and having fun.

3) Trying to be you, as hard as it is. Just let it all hang out. This was once a scene of free thinkers. Get in people's faces about things that piss you off. No one is going to change unless they're aware of their/societies problems.

4) The style of music has changed a lot. It was a lot more aggressive. However, it was a lot slower. The whole punk rock mindset is completely different. Now the scene seems to be more concerned with it's own appeal (i.e.: Is my mohawk tall enough?) rather than the important things: changing our world for the better by trying to rid the world of our oppressive governments and just hating things instead of trying to be respectful of every other persons beliefs. I'm all for "everyone needs to be themselves" but if you don't like how someone is, you owe it to them to tell them. And I'm also not saying to take it as far as violence, because then we are no better than our government, but trying using our language to better communicate than your fist. End

Why The Endless Bickering About Sellouts And Pop Punk Is Pointess

Alright, we've all seen every argument for whether or not they are sellouts or if they are still cool or if you're a poser for only liking them since Lifestyles of the rich and famous or if its okay to like a band after they hit it big and this complaining and all the crap about Michelle Branch and Avril Lavigne and any other crap rock needs to cease. I am making an effort to not even bother reading, at the least not bother adding posts to these lame things because they are all the same. They start out something original with someone either saying they are awesome or they suck or all the teenyboppers on this site ruin it all for all the "cool" people on the site. But the truth is, NO ONE CARES! And if you care, you should do us all a favor. Show your appreciation by going in your dad's room and pulling out his .45 and write a note to those hotties Benji and Joel about how you either are killing yourself because you hate their music and fans or killing yourself because you suffer such horrible oppression and discrimination for liking them. Then wrap your lips around the cold steel tip and pull the trigger. It will make the world a better place. And remember, only YOU can prevent endless adolescent bickering. End

A Guide To A Underground Rock Music Stereotype

First off, I would like to say that this is not meant to be taken seriously. This is an article from a magazine for a local indie\punk scene.

First off we have the punks. You know, this is just about the most important type of kid to be aware of. Many arguments have sprung up, debating whether someone is really punk or not. this should clear things up."
music of choice: rancid, the vandals, AFI, sex pistols, ramones, good charlotte, op. ivy, pretty much anything on Epitaph and FAT too.
where to find them at shows: "standing in the back of the room, scowling and thinking they're more punk than everyone else or thinking about what they could be doing if they weren't at that stupid show.
Quote: fuck you!"
visual (note, there is a drawing, but i can only describe what they look like): mow hawk, spikey hair, OR shaved head, frown face, piercings, 80s punk revival jacket OR studded leather jacket, lock & chain necklace, some ratty punk t-shirt, cuts on arms and legs, spike bracelet, hands in constant flip-off mode, messed up jeans OR expensive plaid pants, dirty chuck taylor's OR combat boots with a bandana wrapped around it.

xHardCore Kidsx: "because of hard cores recent boom in popularity, lot of these kids have popped up. Even though even though most the music they listen to is more sceamo than hardcore. But hey, whats the difference, it all has screaming in it. You may notice the emo girls and hardcore girls look the same...well they are the same.
music of choice: hopesfall, the locust, coalesce, shaihallede [sic], thursday, converge, the used.
Where to find them at shows: two places...in the front near the band, shadow boxing. The other is on the sideline, clap dancing or nodding their head. That is where you'll find the softer gentler hardcore kids.
Quote: "<3 or anything with X's around It."
visual for the boys: hair over the eyes, ear studs, tight tiny t-shirts, belt buckle, keys from belt loop or chain, dickies or jeans, cuffed pants, all black chucks.
Girls: spikey bang hair, tiny tight t-shirts, weird purse or messenger bag, lunch box, weird skirt OR capris, vintage running shoes.

Indie kids: "much like punk rockers, the magnitude of indieness is argued frequently. These are often quiet reserved people whose comfortable surroundings are at coffee shops or bookstore cafes sipping on chi. this can be a very uptight species."
music of choice: anything you haven't heard of.
Where to find them at shows: in the back of the room next to the punks wondering where the art in the music is. They might even be trading mix tapes.
quote: did you catch donnie darko last night?"
visual of boy: uptight hat, 1950s glasses, neck scarves, dress shirt & sweater, slacks.loafers OR clean chuck taylor's.
Girl: funny hair, neck scarves, peacoat, slacks, dress shoes OR clean chuck's.

Emo kids: "this is a group if individuals that have been getting a lot of guff at shows and on the internet from the beginning of emo in the mid-80s. They just can't get a break no matter what they do. Its the small price to pay for being emo.
Music of choice: dashboard confessional, simple plan, further seems forever, thursday, the get up kids, from autumn to ashes, bright eyes, anything with crying in it.
Where to find them a shows: in the front of the crowd, whining to each other about how annoying the moshers and shadowboxers are. Another place is sitting on the sidelines moping about their lost loves.
Quote: "why did he\she break up with me?"
"I know we only went out for one month, but I still love her\him."
"why does everyone call me emo? Im not emo."
visual for boy: thick rimmed glassed, messenger bags covered with patches, thrift store shirt or emo band shirt, bracelets, cut off dickies OR ultra tight jeans, odd colored chuck's,
girl: thick rimmed glasses, messenger bag with patches on it, thrift store shirt or emo band shirt, bracelets, lunch box, weird skirt OR fancy pants, vintage shoes OR odd colored chuck's.

Moshers: "these people are as close as we'll get to having zoo animals at shows. My friends, this part of the field guide are no joke. I honestly dislike these sorts of people. I don't mind moshing, I just mind what it attracts. I hope I don't get beat up for this. Remember folks, I carry a big, sharp knife.
Music of choice: slayer, creed, hatebreed, fuel(to cool off), slipknot, mushroomhead, anthrax (just kidding), anything that ensues violence.
Where to find them at shows: in the middle of everything, hitting kids, pushing girls, groping girls (or boys), bleeding, yelling, spitting on people, or outside smoking or boozing it up. Anything that requires you looking like a complete ape.
Quote: "play some slayer!"
"this show sucks, these people are pussies."
"lets go get some drugs and beer."
visual: shaved head OR crew cut, frown face, scorpion tattoo, wife beater with pit stains, very hairy, hands always in fists, cargo pants OR shorts, torn up Vans circa 1995. End

There are some things I am confused about. I think everyone has pride. Whether pride for who they are or pride for being self-sufficient.

Homosexuals

I am not homophobic at all. But I think there is a limit between pride and flamboyance. How come there is not a color-coded symbol for being a hetero? How come there isn't a heterosexual organization? And why don't we have hetero parades? Why is it that if I wear a pin that says "proud to be hetero" I am viewed as being homophobic and discriminating against gays? I don't think gay people should get any more privileges than any other person.

Blacks and Hispanics

I am not racist. But why do black people and hispanics think they're so special for being non-white? I don't feel special for being white. And then they go on and on about discrimination. I think discrimination is low this day in America. There is no white superiority. Colin Powell is Secretary of State. Jesse Jackson was nominated as a Democratic nominee for presidency.

And why aren't there any scholarships for white people? I know there are scholarships and even colleges limited by race, but I bet if there were colleges and scholarships limited to (or influened to be) white people only, that would be seen as discrimination. It is easier for black people and hispanics to get free funds for scholarships than white people. Isn't THAT discrimination?

And why is it the people with the lowest hispanic and black gene (and color) act even more hispanic or black than they really are? Do they feel insecure? Not dark enough to be hispanic? Not quite white yet simultaneously not quite black?

And why is it when someone kills people of color and/or of sexual orientation, it is considered a hate crime? And if a person did murder someone soley based on those things, should the punishment be more severe than if they killed a regular white person like myself? Is my life worth so much less than a person of color and same-sex orientation, that my murderer should receive a less severe punishment than if I were gay/black/hispanic?

Feminists

Why do feminists hate men so much? I think things are pretty equal with sexes. Yes, I am aware men do get paid more and hold more chairs and such in the government. You find more men with higher paying jobs and involved with the government than women. It's a choice. But otherwise, it's pretty equal. Why aren't there organizations for menimists?

I know women who are misogynists, so it is not exclusively a label for men. In fact, I hate men and women alike. Am I a misogynist? If so, am I betraying women and supporting a testosterone-fueled society, as well as supporting women to play the submissive role to men? Does that make me any less of a woman for being a misogynist? End

Views of the death penalty-I think it's an easy way out for the person, being able to end everything. Not having to live with the guilt of their crime. Life in prison seems like a bigger punishment.
-
Then again, if I was related to the victim I could see why they would want the person who hurt their relative dead, knowing there was no chance for them to hurt again.

I personally don't like capitol punishment, and either way we are going to be taxed up the ass. When someone is thrown in jail for the rest of their lives, we have already taken their freedom we don't have to take their lives too.
Bushy boy put 8 people down, 8. Goddamn that man has problems. End

Views on suicide- The real people with real problems are different. When people try to kill themselves or do something to themselves, it's like they're testing how far the can go before they die. Their actions aren't really a cry for help, but how far you can cut or how many pills it takes you to die was like walking on a string between skyscrapers. If you fall, you fall, you don't really care either way. It's more like teasing death than loved ones.
And people have to know suicidal people don't accept help when it's offered or suggested. They need someone to be in control of their lives, because they aren't.
The real suicidal ones generally suffer a lot before it gets to a point where suicide creeps in. And it creeps in so slowly, you don't even know it happens a lot of the time. And when you look back, it's like "how did I ever get that far, and why didn't anyone see it?" End

Animal Liberation- Its not right to hurt animals and abuse them.  I see animals being abused and I say to me That thing has a brain and a nervous system.  I wouldnt like it if someone was doing that to me. Animals actually do have an important role in our world and need to be protected.

Rules of Rock

1)      Don't sing if you aren't one of the dudes on stage getting paid to do it. Nobody paid their hard-earned money to hear your dorky, untalented ass sing. We came to hear the dudes on stage sing. Paying 40 bucks to go see Tool, but instead of hearing Maynard, you get the dorkus malorkus with mad zits standing next to you singing "Sober" really loudly and out of key in your ear is enough to murder mother fuckers for.

2) Also, if the singer on stage does decide to either: pass the mic around for the "sing along" song, or: motion to the audience to sing aloud at key moments, and you know beforehand that your singing ability is severely limited, you MUST waive your "sing along" rights. Leave the crowd participation parts to those that do not fall under the "musically retarded" category.

3) This is possibly the oldest rule in the book yeah, you know what we're talking about don't be THAT guy. We KNOW you like the band, that's why you're here, you don't need to wear their SHIRT to their show as well.

4) Also, no wearing shirts of ex-bands either. That means no Nirvana shirts at the Foo Fighters show, no Jawbreaker shirts at the Jets to Brazil show, no Minor Threat shirts at the Fugazi show etc.

5) The "merch guy" is not your friend. In fact, all the merch guy wants to do is get through the night without having to talk to your lame ass. That means that he doesn't want a copy of your weak ass emo band's demo to pass along to the band. The only reason he might talk to you is because you either A) Know where to get drugs. B) Your girlfriend is hot, and by talking to you he can K.G.B. his way into her pants. C) You are willing to pay him for the time in his life that he's wasted talking about how much he likes the band's first out of print seven inch D) Know where he can get either drunk or high for free or E) He's making fun of you. Most likely it's E. In fact, it's mostly E, I mean look at yourself, you're striking up conversation with a merch jockey.

6) Dancing is ok, as long as you don't get all fruity. Air-instruments are NOT ok. That includes: air-guitar, air-drums, air-microphone, air-keyboards, and yes even the air-bass. Don't get me started on air-saxophone.

7) If you yell out "Play some Skynard", you deserve immediate castration. This isn't funny unless your name is either Beavis or Butthead. Shut the fuck up, we all know you've never heard Skynard. You think Earth Crisis invented music back in 1990. Don't give somebody another reason to stab you.

8) Don't be the buff steakhead dudes in the Jeep blasting Radiohead as you leave (or enter) the parking lot of the Radiohead show. WE KNOW YOU LIKE THE BAND! THAT'S WHY YOU ARE AT THE FUCKING SHOW CHAMP! HOW MUCH OF ONE BAND DO YOU REALLY NEED?! Actually just don't be the four buff guys in the Jeep at the show period. This rule applies to everybody. You don't need to listen to the band you're going to see on the way to seeing them.

9) Tall dudes that stand at the front of the stage should have their testicles pureed. You're tall dumb ass, get in the back, or at least back a few rows.

10) Don't yell songs at the band, especially if it's not a super rare song or something. Yelling "ENTER SANDMAN" at the Metallica show is second only in retardation to drooling on yourself and walking really funny with a walker. NO SHIT THEY'RE GONNA PLAY ENTER SANDMAN DUDE. Keep it in your pants, they'll get to it in the 3rd encore. Heckling is ok.

11) Anybody who utters the word MOSH PIT deserves to die.

12) Don't take off your shirt. We know you're sweaty dude, taking off your wife beater isn't going to stop that.

13) Don't be that fat lame bitch that gets crushed at the front of the stage at the barrier. Every time there's a real big show, some grotesquely fat chick thinks it would be swell to get as close to the singer of Blink182 as possible, and that nobody else there has the same idea. 3 songs into the set, the bouncers have to pull her obese fainting ass over the barricade. Don't be this pathetic piece of pasty lard.

14) Don't buy those shirts in the parking lot from the dude who looks homeless unless your idea of a good fitting shirt is about 1 foot long and 3 feet wide. Oh wait, that probably fits your fat ass perfectly.

15) No making out at shows. Get a room. Unless of course it's a Shat show, then it's ok.

16) People who stand outside the whole time, and never go inside to watch any of the bands should be shot in the face. Yeah bitch, we know you don't really like the music and just use your pseudo post emo look as a social façade to hopefully get laid and shit, but your presence at shows besides annoying everybody and making it harder to move around is useless. Go home and play on the internet and revise your makeout club profile you twat.

17) Don't be that guy who sells your zine at shows. We don't want to hear about your boring life, let alone have to pay money to hear about it.

18) Newsflash for kids starting a new band it doesn't matter how many flyers you make for that first show you're playing at that coffeehouse if you pass this flyer out to every last fucker in front of the show, NOBODY WILL CARE AND NOBODY WILL COME. We don't care about Shit Skittle's debut performance brah. It's almost as if the people passing out these flyers assume that people are walking out of the show thinking, "Gee, I really don't have anything to do at all next weekend. I wish there was some shitty show going on somewhere really out of the way with bands I've never ever heard of and don't know what they sound like that I could go to." It's not happening bro and never will. Keep practicing.

19) No crying.

20) When there's a brand new band that a lot of people seem real excited about that features ex members of other cool bands or something, and they don't have any releases out yet, just a demo, or a couple mp3's on their website or something, don't be the jackass at the front of the stage singing all the words. Yeah, yeah, we know you're the geeky super fan who likes these guys way more than everybody else. Just stop it because you're making everybody want to vomit with your over apparent super fan enthusiasm.

21) "Moshers" who lose shoes, keys, wallets, etc. and then stop their kung fu fighting to try and look for those objects, then get clobbered and fall to the ground no wait, keep doing that, it's funny.

22) Sometimes when your favorite band is playing their big hit as their last song, you think it's a good idea and really cool to jump up on the stage and dance with the band. You and about 50 other die-hard geeks. Well we know you're real enthusiastic about the whole thing, but get your porky and dorky ass off the stage. The band doesn't want you up there that close to their equipment. Get off the stage fruitcake.

23) If you go up and begin conversation with the band while they're loading equipment out at the end of the night and you don't at least offer to help, you deserve to be cut into little fucking pieces. The band wants to get the shit in the van and get the fuck out of your dumb ass corn & wheat truck stop town, and you're not helping matters.

24) Street team people passing out the latest Mudvayne cassette sampler in front of the show should be crucified. Yeah, give me a tape dude. I want a fucking Mudvayne tape.

Sellout-A lot of people have different opinions on this one but really its a simple answer. A sellout is defined by little children who have liked a band or thought they liked a band before anyone ever heard of them. They call those bands sellouts because they are jealous of other people hearing their favorite bands music. Thats one aspect.

   Another aspect comes from people who have no idea what it means to be making a living off doing what you love. I bet if you conducted a random survey of bands who may be signed but not huge, like, say Mest or whoever, they would want to be a well known mainstream band. Otherwise, why the hell are they wasting their time?

   A sellout is a band or an artist that changes there integrity to become popular to the masses. Or starts doing it for the money. So really those pop punk bands arent sellouts because they had no integrity to begin with.

Pop Punk-Pop punk is the unofficial label for the style of music which is running rampant throughout the mainstream scene now.  Bands like GC, NFG, Simple Plan, and Blink 182 would definitely fit within the "pop punk" category. These are the bands that claim their roots are in punk (or in sum41's case, in metal). However the pop punk bands themselves instead play light-hearted pop songs, not punk. They wear skater clothes occasionally don a mowhawk or spikes and put on a facade that they are indeed punk while they play their silly songs about girls. Most people who listen to these bands claim to be a fan of punk when in truth they don't know what punk is and what they are really listening to is another form of pop.

All this shit called pop punk isn't even pop punk. Bands like GC are carp not pop punk.Pop-punk is a blending of punk rock high energy..using the same time signatures as pop rock.....Bands like NOFX, Strung Out, Me First and the Gimme Gimmees, Propaghandi, No Use For A Name, Less Than Jake, Frenzal Rhomb, L'Invasione Degli Omini Verdi, and Gli Impossibili are pop punk.

DIY Guides by PunkHardcore.com

TOURING:
Touring is one of the hardest yet most rewarding things an independent band can do, and booking the first one on your own can sometimes seem like an impossible task (at least that's what I thought the first time I booked one), but it doesn't have to.

What I'm doing here is putting together a touring guide for us all to use as a reference and help answer some of the questions and concerns you as a independent band will have when it comes to setting up your first tour.

This is by no means a complete guide and should always be considered "a work in progress" as I will be updating more information and ideas continuously, so please check back often, and if you have any experience when it comes to touring or the book of tours please e-mail me and share your thoughts with us.

GETTING READY:
Demo Packs: More times then not people will want to hear your band before they commit to book a show for you, and this isn't necessarily a bad thing. Think about it, if a person is willing to book a band they've never heard, how responsible do you think they are and how will they handle your show? Getting your demo packages ready before you even start making calls will insure that you get them out right away and will be one less thing to worry about while trying to book the shows. I'd suggest having to demo packages prepared head of time for each date you will be looking to book. This may seem like a lot, but you will probably find it's accurate once you get started, plus if you do have packages left when it's time to leave be sure to take them with you for those times when you run into other promoters, record label people, writers etc...

Demo Packs (What to Include): This is pretty subjective, you can include as little or as much as you like. Personally I always include a Cassette or CD (obviously) with our contact information clearly labeled on not only the sleeve but the Cassette or CD it self, a cover letter with our contact information clearly stated, a 8x10 band photo with our contact information clearly stated, a bio with our contact information clearly stated, and some stickers. In case you didn't catch the hint, CLEARLY state your contact information on everything you send! That way no matter what happens, or who gets a peace of your package, someone will always be able to get a hold of you. Through running my own record label and putting together several compilation CD's I have come across an unbelievable number of unmarked packages making it impossible to contact the band who mailed it.

Phone Number Sheet: Before you start calling people it's best to gather all the numbers you can before hand and organize them according to the dates and cities you will be going through. Having blank phone number sheets handy while making calls is also a good idea because you'll find that for every one person you phone they will probably be able to give you the numbers for 3 other people that might also be able to help you. It's also a good idea to keep this highly organized because the amount of phone numbers you'll amass can become a bit overwhelming at times and you'd hate to forget to phone someone, or double up and accidentally call the same people twice (making you look knob, and wasting a long distance phone call).

Phone Bill Money: It's unlikely that your first tour will be booked by an agency that will cover your short fall so weather your booking a tour for your band, a friends band, or a couple of bands it's always best to discuss the issue of the phone bill in advance and get money from everyone involved up front, if that's what you decide on. For bands that are just starting out it's going to take a lot of phone calls to book shows so that bill will build up fast! Getting money in advance gives you the peace of mind in knowing that once that huge bill arrives that you'll be able to pay it right away and not have to worry about chasing people around for money (which can sometimes get ugly).

When phone bills get up into the $300 - $400 dollar range (which is pretty easy), people might start to question your bill, so it's a good idea to save your phone bills and keep track of all your calls (ie. who you called, on what day and time, what they said etc...) and keep these handy in case you ever need to verify yourself.

Plan the Tour Route: Know exactly where you want to go before you start calling, and be sure to layout out different cities to visit just in case you are unable to get a show in a town you originally wanted. When booking shows the people you're dealing with will often point you in the right direction if you are able to tell them where you're going next, which often pans out great so it's always a good idea to ask everyone you talk to if they know anyone else who books shows in different cities on your tour route. This not only gives you a good start on another city but gives you an "in" whereby you can say you were referred to the person you are calling by someone they know which always makes things a little easier.

Van, Gear & Extras: This may seem like an obvious tip, however it needs to be said. Don't even think about touring unless you have 100% guaranteed access to a van! Don't count on someone leading it to you because often people will offer it not thinking that you will actually ever "tour" and when it comes time to leave you'll be left high and dry. When you do acquire a van it's extremely important to ensure that it will make it back from the trip. Putting off touring until you can afford to buy a decent, more expensive van is probably a wise choice. There's nothing worse then getting out on the road and having your van break down causing you to have to cancel dates while it's being repaired. CAA or AAA are a must! While on tour anything that can go wrong will go wrong, and having road side assistance will give everyone peace of mind in knowing that should something go wrong, no matter where you are, that you'll be taken care of. As an added bonus CAA also provide an extremely cool service called a "Trip Tick" which is a map tailored to your specific tour route, giving you detailed directions to all the cities you will be going to, maps of the inner cities, as well as lists of gas stations, police stations, rest stops etc... and it's FREE with your membership. Having a trip tick on each of the tours I've been on prevented us from ever getting lost, got us to where we were going on time and sometimes even ahead of time.

WHO TO CALL:
Pretty Much Everybody: If this is your first tour you're going to need to call everybody and their brother to even secure a small number of shows. Now when I say everybody I mean everybody! Bands, Venues, Promoters, Zines, Record Labels, Record Stores, Radio Stations... everybody that is in any way related to your tour, within reason of coarse. Don't go making a large number of "long shot" phone calls right off the bat unless your up against a deadline with no where to go.

When calling people for the first time be sure to talk to them in a very confident, friendly manner, I personally hate getting a phone call from some kid with no personality or people skills and neither does anyone else. Make the people you're calling feel comfortable working with you because they are the ones taking a risk in booking the show and need to feel that you're worth it. Their first impression of you and your band is going to be in the initial phone call so be prepared. Always get a name for everyone you talk to and call them by name as much as possible. This develops a relationship with the person that somewhat helps to gain trust and build up a certain comfort level with them.

Don't back down easily, but don't be pushy... you'll need to find that fine line and walk it very carefully. Generally people's first reaction to bands calling looking for shows is "No" or "I'll see what I can do". Don't just say "Oh, ok give me a call if you change your mind, or if anything comes up" Explain your situation, give a little info on yourself and try to get whoever you're talking to become interested in yourself and your band. Basically you want to sell yourself to them and have them remember you once you get off the phone, but in a positive way.

Look Into People As Much As Possible: When booking your shows try to find out as much about the person that's booking your show as possible. Don't bagger them like their applying for a job, after all their the ones doing you a favor, however you don't wanna get stiffed. Youre often going to speak with a number of different people within one city while trying to book shows so make a point of asking each person what's up with their scene and if they know any of the other people you have or are going to be calling. Doing this will often give you a good idea as to what the scene is like in that city and who you can and can't trust. People are all ways willing to talk about their scene and who shouldn't be trusted so take advantage of that inside information, but also learn to take it for what it is. Just because someone says another person is good or bad doesn't necessarily make it so, however, you should keep it all in mind.

FOLLOW UP CALLS:
Make them Often: People will generally only book shows for unknown bands if it is convenient for them (extremely convenient), so don't expect too many, if any, return phone calls. You will more then likely have to make all the calls when finalizing a show, however once again, you do not want to annoy or bagger the person who is doing you a favor. When making a follow up call be sure to be friendly even if the person said they would call back and didn't. Try to talk about anything but the show at first just to break the ice, this will make the person more willing to talk to you each time you phone. For example, one time when I was trying to book a show in New Mexico the person I was calling was getting married, and we'd often spend more time discussing the wedding then the show during our telephone contestations. This cost a little more in long distance calling, but he booked the show and has stayed in touch with me and the bands I work with ever since.

Be sure to always introduce yourself in the same way every time, this helps the person remember you (IE "Hey this is Mark from "My Band" calling how are you?"). After you call 100 people you'll probably start doing this naturally anyway, but it is good to keep in mind at the beginning.

Calling on The Road: Even when it comes time to leave and you've still got a few holes in your tour don't worry, take your numbers on the road with you and continue trying to book shows while you travel towards the city you need a show in. A lot of times people won't think you're actually going to tour and won't commit to a show until you leave your drive way. Booking shows this way is extremely hard because you are away from home and pretty much impossible to get a hold of unless you have a good cell phone (which is highly recommended) so don't rely on this method to book too many shows. If you don't have enough shows to reasonable make enough gas money for the trip it's best to cancel the shows you do have and try again another time.

One Last Call: About a week before you leave it's best to call all your confirmed shows one last time to double check that they have everything straight. Doing this a week in advance gives you enough time to re-book a show in case of a mistake. Trust me it happens! And you'll be glad you made these calls well in advance.

BOOKING THE SHOW:
Get All The Info: Once someone has agreed to book your show make sure you get as many details as possible right away which helps prevent confusion and additional phone calls later. What you want are directions to the club, house, hall etc... you'll be playing at, as well as phone numbers for the venue, promoter, mailing address for everybody involved (just in case), the time you need to be there by, sound check, what time you're going on, how long your expected to play for, how much and how you'll be getting paid, what other bands are playing etc...

Payment: This is always a tricky subject and opinions will vary depending on who you talking to. Getting a guarantee will be pretty hard if you're a relatively unknown band so don't even embarrass yourself by asking, however, it is a good idea to ask the person booking your show to fax you the details of the show with their signature at the bottom, that way you'll have something from them in their writing, this way they can't argue with you when you arrive in their town. It's not a contract but it's a start. Written agreements will get you something.

A side from getting a guarantee how much should you ask for? Well that depends on how you're getting paid. If you're getting a percentage of the door you'll wanna try and get at least $1 a person to start with and go from there. If you're getting paid from the club itself you'll want to ask for something around the cost of your gas to get there, the cost of your gas to your next show as well as the amount it will cost to feed everyone that evening. Club owners are stingy so talk to them a bit and try to get them offer you something first. You'd hate to ask for an amount lower then they were willing to pay in the first place.

Posters: While preparing demo packages always make a point of making posters for the tour with the dates and locations left blank so that when you do have a date booked you can offer to mail the person booking it for you a pre-made poster. This means less work for them, which every promoter loves, and helps ensure that posters for your show will actually be printed and distributed.

GETTING READY TO LEAVE:
Cell Phone: Anymore now-a-days cells phones are extremely affordable so you should really consider picking one up. It will allow people to get a hold of you if there are changes to a show date or location after you leave as well as giving everyone peace of mind in know that if the van breaks down in the middle of no where that you'll be able to call for help right away.

A couple of things to make sure you keep in mind when buying a cell phone is that there are no "roaming" fees which when dealing with some companies can cost an arm and a leg, also consider getting voice mail as an added feature on your phone.

The Van: Lets face it you're not going to be able to afford hotels all the time, if at all, so your van better be comfortable not only to drive in, but also sleep in and still hold all your gear and clothes. Your best bet is to build a bed suspended from the window frame that is large enough to sleep 3 guys (that may sound like a lot but it's actually pretty reasonable). With a bed this large you'll be able to sleep comfortably and store all your gear out of the way under the bed. For additional storage and sleeping space building a bench across the front of the bed is also recommended. Building it large enough to sleep one person, and seat three, this bench should be large enough to hold everyone's clothes too, if not you're taking way too much clothes! I'll provide diagrams soon.

Just Like Home: One way of making the van a little more comfortable is to line it's floor, walls and roof with carpet. It'll make cleaning up a little harder but over all the van will be a bit warmer and a bit more comfortable to essentially live in.

Air Vent: If you're going to be travelling in the summer, especially through extremely hot states it is highly recommend that you put an air vent in the roof of your van (if you're van doesn't already have a vent you can actually buy them at hardware and auto parts stores like Canadian Tire and install it yourself). Most people think "Oh we'll just open the front and back windows and we'll be ok" Wrong! Hot air travels vertically, not horizontally, and if there is no opening at the top of your van for air to escape through it will just hang there heating up the van, and making you very hot... there's nothing worse then waking up dehydrated because you've sweat so much throughout the night. I've actually seen guys so bad in the morning that they couldn't even spit because they were so dry which is a pretty bad start to a day.

Tune Up: This may seem pretty obvious but it needs to be said. Even if your van is in perfect running condition it's a must to have a professional mechanic (not a buddy who knows some stuff about cars) look your van over one last time. You'd hate to get out on the road and find out your radiator needs to be replaced, or that your fan belt is about ready to snap. Get the van tuned up it's totally worth the expense.

Accessories: Make sure you bring a mini tool box for minor repairs. As well as extra Oil, water, windshield washers fluid, spare tire, maps, power steering fluid etc... You'll more then likely need all of them at one point.

MERCHANDISE:
Gotta Have It: If you don't have t-shirts, CD's, stickers etc... when you're ready to tour seriously think about investing some money in it! More times then you'd like you're going to need to rely on merch. sales in lou of payment from the venue/promoters. Also merch. sales can mean the difference between sleeping in the van for 14 days straight or taking a shower and getting to sleep in a decent hotel every once and a while.

Set It Up: Always, always, always set up a merch. booth. Saying "Hey if your interested in buying anything just come talk to us after the show" will not work, people are either too shy to come up and talk or just can't be bothered. If you don't set up a merch. booth somewhere you should expect to not sell a lot. The whole point behind touring after all is getting your name and music out to the people, how is that going to happen if they can't buy your CD or T-Shirt at your own show?

Setting up a merch. table at every show may mean bringing a friend with you to help while you're playing so if you have room ask a mutual friend of everyone in the band to come along and lend a hand.

WHLE ON THE ROAD:
Talk To Everybody: Make the most of your time when you're on the road and talk to as many people as possible including staff at record stores (who will eventually be the people stocking your CD), booking agent at venues you play and even DJ's at college radio stations. By visiting as many people in a city as possible you don't only give yourself something to do with you time you also increase awareness about your band, which is the whole point to touring in the first place.

Record Stores: Depending on weather or not you have a CD our, or one that is distributed you will definitely want to visit independent record stores in the town you're playing and see about selling them some of your CD's, T-Shirts etc... a lot of times you'll probably find that they'll buy a couple of each which means a little extra cash in your pocket, plus you know that there is a store(s) in town that is now stocking your material after you leave the next day.

If you have a CD out and it is distributed be sure that selling CD's to stores yourself does not breach any contracts with your distributor. It's worth asking about before you leave then to risk getting yourself in trouble.

One Last Shot At A Show: If you find yourself in a city without a show it's always a good idea to find out where the local "punk" or "hardcore" venue is and then get there as soon as possible, find the promoter, and see if it's possible to get added to that evenings show. I've found this to be a really good idea because in my experience when you show up at a club with all your gear and band members and you're from out of town on tour, the promoters become a little more sympathetic and will probably allow you to open that nights show with a short set. I've seen small bands land shows with bands like Green Day, Snfu and Bad Religion by doing this so trust me, it works!

TOURING RESOURCES:
Deterrent DIY Tour Guide - This online resource will get you off to a good start when it comes time to find all the numbers you'll need

Gig Connection - Another excellent online resource with mailing lists and message boards. You can never have too many of these bookmarked.

Indiecentre - A side from tour info this place is great for anyone in the DIY community.

Book Your Own Fucking Life - This is pretty much the touring bible! If you can get your hands on this book do so, it lists bands, promoters, clubs, stores zine etc... throughout the world.

RECORDING:
Recording, weather it be for a demo or a commercial release is something all new bands strive to do, however in my experience as a trained Recorded Music Engineer, a Record Label owner and a Musician, most young bands either rush into recording or don't take the time to think it through resulting in a less then desirable out come. After reviewing hundreds of demo submissions for our first compilation CD I was extremely shocked and disappointed at the number of poorly recorded material bands were representing them self with and because of that have decided to write this guide to recording in the hopes that it will help those of you with little or no studio experience avoid some of the common pit falls that I and most other bands fell into when starting out.

Like every other aspect of the music industry the recording process is extremely diverse and the options and combinations are endless. The following information is a combination of personal experience and basic need to know info. While no specific recording process can be applied to every band, the info listed here should give you a solid base to start from.

WHEN TO RECORD:
This is something you as a musician will really have to sit down and think about, and be honest with yourself about how good your songs really are. I can't tell you the number of bands bio's I've read where bands compare them self to popular acts like Pennywise, NOFX or Lagwagon etc.. only to pop in their tape and hear stuff that sounds absolutely nothing like anything any of those bands would ever write. I find (even through experience) that most bands when starting out will often bang out tunes that feel good to play and probably have one or two good guitar riffs but just don't have the makings of a really good well crafted song. One way to avoid this is to sit down, listen to those bands you consider to be your influences and really think about what it is they are doing that you like and then keep that in mind when writing your own songs. This doesn't mean that you should go out and rip off bands material or not try to be original, but that you should just try to write songs that you yourself would actually plunk down $10 for a CD of and go from there.

When you do decide you want to record keep in mind that it's not necessary to record all your songs the first time through. Instead evaluate your songs, maybe even enlist the help of some friends that you know will give you an honest opinion and ask them to rate your songs. From there select only those that get high marks and then scrap the rest. I know every band when starting out can't wait to hit the stage and hate having to scrap a song(s) and start over, but in the long run taking time to write quality songs before you record will come back to reward you. It's not reasonable to record songs and then when you send them out to people to say "these aren't really our best songs, you should hear the new stuff we're writing". You can't expect people to use their imagination when listening to your band, and you can't expect people to give you a second chance at a first impression.

In the end it's best to hold out until you have material written that you feel meets your potential and most appropriately represent your band and bands sound.

SELECTING A STUDIO:
This is always kind of tricky... do you go Analog or Digital, 16 tracks or 24, Live off the floor or Overdubs, how much is too much, how much it to little? More times then not new bands won't consider this and will often go to the same studio their friends went to regardless of the results they achieved. Now, when I tell most bands this the first come back is usually "ok, so we have to go to an expensive studio?", and of coarse the answer is no. Through my experience you generally get what you pay for when it comes to recording, but I certainly wouldn't let that be your only guide. There are plenty of good quality studios out there with reasonable rates, plus it's not just the studio that really matters it's also the engineer. I've seen killer engineers do more with a four track recorder then some dumb ass in a $200 an hour studio with the best equipment money can buy.

So what do you do? Visit as many studios as you can, find out their rates, talk to their house engineer to see if you like him or her and most importantly... listen to tapes of their past projects that are similar to what you'll be doing. It's also important to talk to other musicians who have recorded at the studio you are considering using to see what there opinions are on the quality of their recording as well as the people who work there. Recording in the best studio with the highest qualified engineer won't to you can good if they don't respect you or your music so it's very important to make sure the studio is familiar with sound and style you're looking to achieve.

HOW MUCH TO SPEND:
This is a tough question to answer because you're paying for a service as opposed to a product like an instrument. Like most other service fee's they often vary depending on the quality of the work the person is capable of as well as the level of demand for the services. For example studios in a large city with more then one studio and a lot of bands my charge between $50 to $100 hour where as one studio on a town my charge $150. This isn't necessarily because they're better, but simply because the demand may be higher the competition is lower. Keep this in mind because like a book you can't judge a studio by it's cover.

Every band is broke so get use to it and get over it! If you're broke it's even more important to take care when recording because I've seen so many bands flush money down the toilet by wasting it on crap demos that they end up having to dump and re-record anyway. The ironic part is that if most of those bands had simply saved the money they spent on their multiple cheap recordings they could have afforded to go into a decent studio, take their time and do it right the first time through. Even if you find the best studio at a great price and a qualified engineer to record you, if you go in with little to no money and have to rush and cut corners that will all eventually come through on your recording. As a general rule of thumb for myself (and these numbers will vary for everyone) you should spend at least two to three hours just setting up and getting sounds (micing drums, basic EQing etc...) if you're recording a demo, and a full day if you're recording a full album. From there plan to spend at least 3 hours per song recording, overdubing, mixing and mastering for demo recordings and almost a day per song for material intended for commercial release.

Three hours to a full day to record a two minute song may sound like a lot but by the time you get into the studio and start working you'll find that time flying by and you'll be glad you budgeted your money to afford it. So in the end it's really hard to say exactly what dollar amount you should spend, but just keep in mind it's worth waiting until you have enough to get the job done right (as hard as it is to resist rushing in).

RECORDING:
Techniques and opinions will vary on this subject as well, however for the most part your best bet is to try to record your bass guitar and at least one guitar track while recording your drum tracks (or "bed" tracks). Bands with bigger budgets will often scrap all their rough takes and over dub each instrument after the drums are done, however, musically this can turn out sounding kind of flat if your not exactly the best musicians and will consume much more of your studio time. If you take your time setting up and isolate your guitars and bass from the drums while recording you should be able to keep everything and then go back over your mistakes with "punch in's" (a recording method used to only re-record a section of song). Once you have your bed tracks laid down you'll want to record any additional guitar tracks/solos as necessary. It should be noted here that you should not need to record numerous guitar tracks to get a thick heavy sound, if your engineer is good they should be able to get that sound by properly micing your amp, provided you have good gear and enough of it (I suggest taking multiple heads and cabinets with you when you record).

While on the topic of heavy sounding guitars I would just like to say now that getting that sound does not mean turning the treble and mid all the way down on your amp resulting in a thick muddy sound. The thick body that you're looking for should come from your rhythm section, specifically your bass. All too often young bass players want to be heard too much and opt for a more mid frequency sound that really stands out and for some forms of music sound good, but when you're looking for something heavy you want a fat bass line that you feel more than you hear. So just to recap, one guitarist alone should not try to achieve that sound alone. By properly putting all the peaces together your end result should be just that... heavy!

Once your guitar over dubs are done you'll move onto your lead vocals, which should be pretty straight forward and easy provided your singer is on the ball. Once that's done you'll finish up by adding back up vocals if your song calls for it. Back up vocals may seem like a simply minor detail however they can often make or break a song or album. First off don't have the same number of people doing the same sounding back ups using the same microphone standing in the same position on every song, it will become very redundant very quick! Mix things up, have your lead singer double his or her own tracks from time to time as well as working in group back ups and possibly back-ups provided by other musicians you know.

MIXING AND MASTERING:
I can't say this enough, take your time!!! You don't want to rush here and blow a good thing. It's very important to take your time setting up a good mix with good levels monitored on several different speaker systems. When you have a good mix, again don't rush! Don't just simply set up one good mix and then let your tape roll as you run your material through the mix. Listen to each song carefully and make adjustments where necessary. For example drummers tend to get fatigued over time and often will have to have their mic levels adjusted accordingly, also adrenalin and/or nervousness may cause band members to play harder or softer from take to take, this will all have to be taken into consideration when mixing each song individual. Don't get me wrong, don't scrap a good mix after each song and start over. Simply set up a good base mix and use it just as that, a base from which you mix each song individually.

Once you're done mixing and you have your master DAT and/or CD-R in your hands you're ready to start pumping out those copies in the hopes of getting signed to Fat Wreck Chords right? Wrong! You should still master. Mastering is a kind of elusive step in the recording process that most indie bands look at as a luxury only affordable by bands with bigger budgets. While it may take another hit out of your wallet, mastering will definitely pay for itself if done properly. When you're mixing you want to get the best possible sound out of each instrument and an even mix, however, when you're done your recording may have a little too much high end or be a little woofy from too much bass, or it may be even as far as treble and bass goes but lack that certain punch you're looking for... mastering will take care of all of this. For those of you reading this who have recorded and not mastered in the past, have you ever mixed in a studio and thought you had something really sweet only to take your tape a friends house to play and have it sound totally different? This has happened to me more times than I care to admit (in the past of course), mastering will give your recording consistence by smoothing out your mix a little more.

RECORD AGAIN:
Don't just record a couple of songs, mail them out and then wait. Keep writing, and when you get more material that you're happy with written record it and send it out again. I know from speaking to Chuck Platts that Good Riddance had to send Fat Wreck Chords two or three different tapes before they agreed to do the Cigar seven inch. Persistence and the fact that you're new material will usually be better than the old ones are the two best reasons to keep at it. The more you do something the better you'll eventually be at it so don't let years pass between your recording sessions.

SHOWS:
Performing live is a total rush for musicians young and old. The two times I was able to tour with my band will remain the best in my mind for a long time to come, however, those same shows can also be a source for huge amounts of stress for band members and can predetermine the path that your band will follow right from the beginning.

In my experience the level of success a band will achieve is often a direct reflection of their touring/performing schedule. Nine times out of ten the band that gets out there and plays to anyone and everyone, will be the one that will eventually enjoy the fruits of their labour (signing to a good label, touring with higher profile bands, earning more money etc), as opposed to the band who may play with the biggest touring acts that pass through their town but neglect to play outside of their home when the opportunity arises.

I've also found that the level of difficulty or ease when booking shows will more times then not be a direct reflection of your bands talent. I've seen a tremendous amount of bands complain about the "scene", booking agents that don't return calls etc... however, those same bands often aren't at the top of their game as opposed to a band that is, who will be more likely tp have shows offered to them with little need to solicit them self. For those bands who find it extremely difficult to book shows, it may be necessary to take a second look at the quality of your material and possibly considering going back to the drawing board.

Simply put the live performance can make or break your band and will ultimately determine the out come of your countless hours spent writing your music while in someone's basement.

WHEN TO START:
Once you've been together as a band for awhile and you've written enough material to fill a set (at least 30 minutes) it's time to strut your stuff live, but before you do take a second to honestly evaluate the material you've written. Is it good? Will others want to hear it? These are only a few questions you should ask yourself and if the answer is no to either of those questions then I highly suggest scrapping which ever songs don't make the grade and start over. As musicians we inherently think our material is always good (or at least good enough), however, we've all been to shows where the band just sucked something fierce and appeared oblivious to it, so don't just assume, give it some thought and don't blow smoke up your own ass when doing it because you're the only one that will lose in the end.

BOOKING A SHOW:
Every band I've ever been in or known of has always started off by opening for a friends band that has already been playing for awhile so if you know anyone in another band the simplest way to get started is to call in a few favours and get hooked up that way. However, you can't always ride on the coat tails of others or else you'll never get anywhere so you'll need to start at the bottom like the rest of us and work your way up. When you're starting it's obvious to start looking for a show in your own town, but don't let that be a crutch for you to lean on. Branch out and call other clubs within driving distance of your home as well, and when you do simply ask to speak to the booking agent and let them know you're interested in playing at their club. The booking agent will quickly blow you off and that will be pretty much it (but don't lose hope). What you want to start doing now is sending off demos to clubs in the cities you want to play in, I've never known a booking agent to return a call so a follow up phone call on your part is a must, more times then not I've seen bands get booked on shows simply because they popped up at the right time instead of actually being approached by someone regarding a show so be persistent, but not annoying. Booking agents generally have the shortest fuse in the business so if you sense that you're getting on their nerves I suggest running for the hills only to live and fight another day.

While you don't want to over looking it, trying to book shows directly through a club owner or booking agent is probably the most difficult. You're safest bet is to just hook up with a band in the city you're looking to play in and ask them if they'd be interested in helping out. In return you'll of coarse be obligated to do the same for them in your city so don't start asking for favours until your set up in your own town and able to reciprocate. I've booked an entire tour by doing this and highly recommend it. Not only can you usually trust another band over a booking agent or owner, but you'll also meet a lot of cool people in the process.

MERCHANDISE:
If you don't already have some I highly encourage you to pool your money and look into getting some t-shirts, stickers etc... printed so you'll be guaranteed another source of income as side from what you'll be getting paid to play.

With quality merch, and enough of it you will stand to make more money through sales then you will from being paid by the club. I've seen touring bands play a club for $800, but end up selling $5000 - $10,000 in merch in one evening. Those numbers speak volumes about the importance of this subject and cannot be over looked.

What's most important when dealing with Merchandise is looking at it from a business point of view and consider designs and logos that will help making selling t-shirts etc. to people other then the bands fans. If you can do this it will mean the difference between making enough money to keep the band going verses making enough to actually be able to put some in your pockets.

PLAYING THE SHOW:
When you arrive at the club or where ever you're playing, load your gear in where ever your told to (it's always good to ask this ahead of time), and then wait until it's time to go on (don't get there too early or you'll be bored out of your tree before it's time). When it is time to go on you'll want to move fast and not waste time. You probably won't get a sound check so don't be disappointed when it doesn't happen. Because of this it's very important to make sure you're amps are in a position where you're drummer can hear them and that your individual amp levels are loud enough and even to be heard by everyone on stage.

When you actually start playing please remember not to take huge pauses between each song. I've seen great bands play intense songs that the audience starts to get into, however, they take too long and create huge gaps of silence between each one that just kills the mood of the set so keep that in mind. One tip I can offer is this, play your songs in sets of three. Play three songs back to back then pause to catch your breathe and then start again before you lose your audience.

AFTER THE SHOW:
Often referred to as schmoozing, talking with the other bands, club owner, booking agent etc is in my opinion the key to a successful career. Not just play, pack up and then hailing ass outta there. If you're show whet over well and the crowd was into it talk to the person who books there about coming back for another show right away before time passes and they have time to forget about you. Also, if you liked any of the other bands that played the same show try to hook up with them and see about working together again in the future. I ended up joining and touring with a band I originally opened for years ago so I'm speaking from experience on this one.

North Korea and Its Weapons

Theres no way those bastards are that stupid.  Ever wonder why the Soviet Union didn't bomb us in the cold war.  Because they knew that we would bomb that back just as hard because we don't just have weapons stationed in the US.  North Korea knows that too and won't bomb us.  Even if they did they would only have enough material to send over two of those fives bombs. The bombs can't reach the west as of now either.  They are close but, they can't.  Then if they did we would only bomb them back just as hard.  We have missiles stored in South Korea and wouldn't hesitate to use them the second we receive notice that they are attacking us.

The War with Iraq

I don't understand why we're attacking Saddam.  It's obviously for the oil because when G Dub says he's a threat doesn't he realize that there are other mad dictators in the world other then him?  That guy in Jordan is way worse then Saddam and we don't seem to care about him.  It's either jealousy or greed. I believe it's both actually.  Think back to the 80's. We were allies with this guy and his regime.  We trained his troops and supplied him with everything he needed.  So does that mean that we are the bad guys as well?  Yes it might be hard to believe but, we too are the bad guys.  We have committed so many crimes just like Saddam.  But, the people of the US won't accept that.  They'll think to themselves that everything is okay and nothing is wrong. They'll think that we are doing well.  They think this because the people like lies. Lies are what make people feel good. Its lies that makes people go to sleep at night.  Its the truth that hurts like a bitch.  The truth is what makes you scared and confused and realize this world isn't perfect.  The government and media know this and are willing to give the people this because it's what they want.  People have to start thinking that the world is fine and do something about it.

Good Rock Movies

1)      Almost Famous

2)      SLC Punk

3)      High Fidelity

4)      Suburbia

5)      Detroit Rock City

6)      Spinal Tap

7)      Flash Dance

8)      Footloose

Government System Rant

I started thinking about how lives use to be in like old Celtic Scotland, like during Macbeth. It got me thinking about the differences between the two worlds. Goddamn how I wish I lived then and not now!

First, I want to discuss the role of a leader. Back then there was one leader, who got there because he fought bravely, under which the people united and became one. They trusted him, loved him, and would do anything. He was the king. Today, we are ruled by some idiot who isnt even capable of speaking English (in Canadas case) and a moron who cant spend a second of his time not making an ass out of himself ("rarely is the question asked, is our children learning"). Goddamn, what the fuck??? Shouldnt the leader be a motivating figure, an actual leader of a nation, one who we all trust and in whose hands we put our lives? Shit, we make fun of bush more than we listen to him. And this guy is commanding the greatest armed force in the world? Something here isnt right. That wimp could even survive a second in the fucking battlefield. Why do we trust him? Because we had a choice between him and another fool at the elections. How many people dont ever vote because they have no real choice on that little slip of paper? How easy is it to frame an election (*cough* bush *cough*)? How fucked are we all going to be if this continues?

Second I thought of our great wars. Wow people, look at us. Who do we trust in? Are we honorable in any way? Who do we let us command us? Some old guy at work who has a boss tags on his nicely pressed shirt because his friend promoted his sorry ass? In the words of the infamous Tylor Durton:
"Our generation has had no Great Depression, no Great War. Our war is spiritual. Our depression is our lives."

This world has no democracy. There are no equal rights when corporations rule. Why does a black man get 70 cents to the white mans dollar. Why does Wal-Mart and FYE drive out local shops. We are not a democracy a democracy promotes equal rights and equal opportunity for all. The common man does not have a say when congress is the upper 1 of the country. We are more of a capitalist socialist nationalist society, where government run corporations run the country. We are essentially a fascist state not a democracy.

Anarchy

Anarchy is possible and all those people that say it is not are wrong. It may be possible but, it will never happen.  In this day and age at least.  For now there will always be people that would be crazy and get out of control.  Picture waking up one morning and being shot from a psychopath and your family not being able to file a lawsuit and put that person in jail.  Just because you are against your country doesnt mean youre an anarchist.  I am not an anarchist but, I do not believe in what our country is doing.  I might be against what we are doing but, I still have pride in my country and believe that someday we will be able to at least make our country a little better.

Links

http://www.ukpunkrock.co.uk/

http://www.absolutepunk.net/

http://www.acclaimedpunk.com/

http://www.blanktv.com/home/home.php4

http://buddyhead.com/grn/

http://www.interpunk.com/

http://www.mxtabs.net/basstabs.php

http://www.punkplanet.com/

http://www.punkunited.com/

http://www.punkupdates.com/index.php

http://punkmusic.net

http://www.punkbands.com/

http://www.punkhardcore.com/

http://www.punkrocks.net/

http://www.synthesis.net/music/

http://www.punkpress.com/

http://www.alternativepress.com/sections/homepage/11-30-1999/index.asp

http://www.pastepunk.com/

http://punkvoter.com/index.html