Punkast

“The music of which there was supposed to be no rule book, suddenly had a rule book…” So, what are these rules, how do they impact creativity, and how do musicians, producers, and artists, more broadly, continue to push the limits in Los Angeles’ dynamic DIY musical subculture? Join Jessica Schwartz and Tequila Mockingbird as they speak with BRUCE DUFF about his experiences as he addresses students’ questions about this complicated terrain.  Bio:A musician, producer, journalist, artist manager and author, Bruce Duff is a native of Southern California.  As player and producer, he’s worked with Jesters of Destiny, Cheetah Chrome, Adz, Circle, Glitter Wizard, Jeff Dahl, Prima Donna, 45 Grave, the Streetwalkin’ Cheetahs, the Magnificent, Thor and Simon Stokes, among many others.  As a journalist, he wrote for L.A Weekly, Billboard, Bass Player, Psychotronic, Rip, Creem, and dozens of other out-of-print magazines.  He retired from journalism in 1995.  His first and last book The Smell of Death was published in 2014. In addition to artist management, he runs the day-to-day operations of Josie Cotton’s Kitten Robot Records label.  Duff lives in the Hollywood Hills with his wife Else aka Evil E, (the official announcer of the L.A. Derby Dolls), and their two cats Lemmy and Lux.Links:http://bruceduffmusic.com/Audio Samples:Mother Superior. “Deep.” Deep, Top Beat Records, 1998.45 Grave. “Sleep in Safety.” Phantoms E.P., Enigma, 1983.Various Artists. “Flatten the Curve.” FugThaCorona, 2020.CrowJane. “The Pharmacy.” Mater Dolorosa. 2022.Recorded on November 30, 2023, this episode was part of the UCLA course “DIY: Punk Organizing as Social Justice,” open to a live student audience. It was hosted and produced by Jessica Schwartz and features co-host and guest producer Tequila Mockingbird. Bella Gerard edited the audio and transcript.

This “Behind the Scenes” episode is the final episode in the PUNKAST/Adobe Punk: the concert Mini-Session Interview series. It features Jessica Schwartz in conversation with Theresa Chavez, Gabriel Garza, Dorothy Hoover, and Sage Lewis, who discuss their inspirations and contributions to Adobe Punk’s creation and production. Theresa Chavez highlights About Productions' collaborative approach, which has been building projects from the ground up for decades. Gabriel Garza emphasizes the intergenerational and historical aspects of Adobe Punk, while Dorothy Hoover and Sage Lewis elaborate on the set design and soundscapes, respectively. The conversation touches on future plans for the production and educational outreach efforts, aiming to deepen the connection between youth and historical and cultural contexts through the medium of punk theater.For more information: https://www.aboutpd.org/adobe-punkDorothy Hooverhttps://www.dorothyhoover.com/IG: _dorothyhooverGabriel Garzahttps://gaberealgarza.com/IG: gaberealgarzaSage Lewishttps://sagelewismusic.com/IG: sagelewisSong Samples: “Sound Collage” constructed by Sage Lewis for Adobe Punk, 2022.“Camera Shy,” Theresa Chavez and Nina Diaz, 2022.Interview Transcript: https://sonix.ai/share/SahkVXNiMPtBJRz1v67ZY1W2This episode was recorded over Zoom on May 23, 2004. Bella Gerard edited the audio and transcript.

Jimmy Alvarado has been active in East L.A.’s underground music scene since 1981 as a musician, backyard gig promoter, writer, poet, bouncer, flier artist, photographer, podcaster, and historian. He has authored numerous interviews, articles, and shorts spotlighting the East Side scene, and an episode of his Eastside Punks documentary series about first-wave East L.A. punk band The Brat was named best documentary short at the 2020 Highland Park Independent Film Festival. He writes for Razorcake and also plays guitar in the bands La Tuya and Our Band Sucks. Alvarado says “while punk has been an inspiration and refuge to many in Los Angeles County, precious little attention has been given to the greater Eastside’s contribution to the scene until very recently. A rich diverse, multi-generational, multi-disciplinary group of artist are now being heard, through a variety of avenues, resulting in a more holistic history of the Eastside, and Los Angeles, underground music scene that counters the long prevailing myth that punk has always been a ‘straight white boy thing’.” Visit latuya.bandcamp.com and razorcake.org for more information.Links:latuya.bandcamp.comrazorcake.orgSong Samples:(0:00-0:20) La Tuya, “La Tuya,” La Tuya, 2019.(0:00-0:39) Patti Smith, “Gloria,” Horses, Arista Records, 1975. https://www.youtube.com/watch?v=bPO0bTaWcFQ (0:00-0:35) La Tuya, “Thirteen,” La Tuya, 2019.(0:10-0:45) La Tuya, “Tribes,” La Tuya, 2019.Interview Transcript: https://sonix.ai/share/uUxv73Bv8cdKBcHG6fdvo7AhThis episode was recorded on March 24, 2024, in Pasadena, in front of a live audience at the Lineage Performing Arts Center. Bella Gerard edited the audio and interview transcript.

Teresa Covarrubias was born and raised in the Boyle Heights section of East Los Angeles and became the lead singer for The Brat, a Chicano punk rock ensemble (lead guitarist Rudy Medina, and alternate lead and rhythm guitarist Sidney Medina) originating from the barrios of East Los Angeles, California. From their conception in late 1978, to their eventual break-up in1985, The Brat contributed to the customization and intermeshing of multiple musical and cultural models that culminated in the distinct East Los Angeles, Chicano punk sound. They are best known for their five song EP Attitudes, released in 1980 (Fatima Records), while contributing to the understanding of the many ways culture transforms and challenges dominant hegemonic ideologies. Musicians such as Bob Dylan, The Rolling Stones, Benny Goodman and David Bowie had a heavy influence on Covarrubias and inspired her to seek alternative forms of music that deviated from the mainstream. This drive to seek alternative forms of media was only heightened when her sister shared D.I.Y. punk fanzines sourced in Germany.Links:http://www.thebrat.net/Song Samples:(0:00-0:23) The Brat, “Attitudes,” Straight Outta East L.A., RockBeat Records, 2017. https://www.youtube.com/watch?v=YJqwgDmsDuI&list=OLAK5uy_kWbiEOUxWrfD7otT51pciNFBjWOo19x9o&index=12 (0:23-0:43) The Jam, “Going Underground,” Compact SNAP!, Polydor, 1983. https://www.youtube.com/watch?v=vzkpgf2oXwo (0:00-0:24) The Dickies, “Walk Like An Egg,” The Incredible Shrinking Dickies, A&M Records, 1979. https://www.youtube.com/watch?v=Q4QxUjZeUvM (0:00-0:50) The Brat, “The Wolf,” Straight Outta East L.A., RockBeat Records, 2017. https://www.youtube.com/watch?v=Ye6XfmltEjE&list=OLAK5uy_kWbiEOUxWrfD7otT51pciNFBjWOo19x9o&index=7 (0:21-0:54) Los Lobos, “La Pistola Y El Corazón,” La Pistola Y El Corazón, Slash Records, 1988. https://www.youtube.com/watch?v=HGn89hK1U9E (0:15-0:50) The Brat, “Misogyny,” Straight Outta East L.A., RockBeat Records, 2017. https://www.youtube.com/watch?v=BrY3yQrJJJI&list=OLAK5uy_kWbiEOUxWrfD7otT51pciNFBjWOo19x9o&index=10 Interview Transcript: https://sonix.ai/share/Rqjcqmt2j29k5KZNK9aS496PThis episode was recorded on March 23, 2024, in front of a live audience at the Lineage Performing Arts Center in Pasadena. Bella Gerard edited the audio and interview transcript.

Lisa Fancher’s venerable Frontier Records celebrates 44 years of independence, its initial releases include debut albums by the Circle Jerks, Adolescents, TSOL, China White, Christian Death and Suicidal Tendencies. Two decades after this impressive string of hits, Frontier discovered Portland’s Heatmiser, featuring the great Elliott Smith. Fancher is a San Fernando Valley native. She worked at record stores like Bomp!, Vinyl Fetish and Licorice Pizza in North Hollywood. She recalls: “We were the black sheep, punk store with Cliff Roman from the Weirdos, Kid Congo, writer Don Snowden and members of the Quick…” In high school Fancher wrote about the Runaways and lines from the piece became part of the inner sleeve of their self-titled debut album. Also while attending John H. Francis high school, she mimeographed her first fanzine, Academy in Peril, and went on to publish subsequent ‘zines, Street Life and Biff! Bang! Pow! as well as writing for Bomp!, Back Door Man, New York Rocker and L.A. Times (fired by Robert Hilburn for being “too enthusiastic”) and L.A. Herald Examiner. She witnessed punk shows at the Masque, Cuckoo’s Nest, Starwood, Whisky a Go Go, Fleetwood et al, somehow finding it completely routine to run like hell from cops wielding batons before, during and after gigs, including the Elk’s Lodge riot and infamous Black Flag gigs at the Whisky. In the early ‘90s, Fancher revived the legacy of the great, pre-hardcore L.A. punk label, Dangerhouse Records (X, Avengers, Weirdos, the Bags, Blank Randy, The Eyes). Switching gears and morphing into a “punk rock Rhino” (OC hardcore combo, Middle Class; the Stimulators; reissues by Lilys). Fancher now owns a streaming radio station: predictably, the call letters are KXFU! She explains: “After being stiffed again and again over and over by dozens of record distributors over 30+ years, I co-founded Independent Label Distribution with Mike Beer from Beer City Records in 2011.” Visit frontierrecords.com for more information.Links:https://www.frontierrecords.com/Song Samples:(0:00-0:41) TSOL, “Love Story,” Dance With Me, Frontier, 1981. https://www.youtube.com/watch?v=tJ-R5kDGaaY (0:06-0:40) Circle Jerks, “Back Against the Wall, Group Sex, Frontier, 1980. https://www.youtube.com/watch?v=H2lVud0v3RA (0:00-0:45) Adolescents, “LA Girl,” Adolescents, Frontier, 1981. https://www.youtube.com/watch?v=Ldy-micKe5U (0:00-0:37) Thin White Rope, “Elsie Crashed the Party,” In the Spanish Cave, Frontier, 1988. https://www.youtube.com/watch?v=_vczgw9JH4w Interview Transcript: https://sonix.ai/share/wG3hT7iSTJ8ay3A6tH6rSxvhThis episode was recorded on March 22, 2024, in front of a live audience at the Lineage Performing Arts Center in Pasadena. Bella Gerard edited the audio and interview transcript.

Mike Watt is an American bassist, vocalist and songwriter. He co-founded and played bass guitar for the rock bands Minutemen, Dos, and Firehose. He began a solo career with the 1994 album Ball-Hog or Tugboat?, and has since released three additional solo albums. He is also the frontman for the supergroup Big Walnuts Yonder, a member of the art rock group Banyan and is involved with several other musical projects. From 2003 until 2013, he was the bass guitarist for The Stooges. In November 2008, Watt received the Bass Player Magazine lifetime achievement award, presented by Flea. The Red Hot Chili Peppers dedicated their best-selling album, 1991's Blood Sugar Sex Magik, to Watt. Watt continues to create and perform a wide array of projects. He wrapped up a 58-date North American tour with mssv (main steam stop valve) in the fall of 2023, and more of his musical collaborations will be released in 2024. Visit mikewatt.com for more information.Links:‘mike watt’s hoot page’: http://hootpage.com/Facebook: https://www.facebook.com/wattfrompedromusic/IG: wattfrompedroSong Samples:(0:04-0:46) Mike Watt + the Missingmen, “Spillage,” Missing the Minutemen, !Angrr!, 2014. https://archive.org/details/missing-the-minutemen/Mike+Watt+%26+The+Missingmen+-+Side+B+-+Missing+the+Minutemen.wav (0:00-0:37) Minutemen, “Jesus And Tequila,” Double Nickels on the Dime, SST Records, 1984. https://archive.org/details/Minutemen1987/Minutemen+-+39+-+Jesus+And+Tequila.wav (0:00-0:33) Mike Watt, “Tell ‘Em, Boy!,” Ball-Hog Or Tugboat?, Columbia Records, 1995. https://www.youtube.com/watch?v=ReX5bkDxOWo&list=OLAK5uy_lV1Hh-Ue67bhtiEnGFBNIruG6YgHQ5uAA&index=13 (0:00-0:41) Minutemen, “Viet Nam,” Double Nickels on the Dime, SST Records, 1984. https://archive.org/details/Minutemen1987/Minutemen+-+04+-+Viet+Nam.wavInterview transcript: https://sonix.ai/share/tC8Bfuvef4zFH8Zis46ZhT1KThis episode was recorded on March 17, 2024, in front of a live audience at the Frida Kahlo Theater in Los Angeles. Bella Gerard edited the audio and interview transcript.

Jesse Velo co-founded Los Illegals in the late 1970’s. Jesse says, “With our backs against the wall, facing an impenetrable, almost segregated Hollywood industry, we partnered with radical elements and (OSF) nuns of the Catholic church to co-found Vex, the first alternative music and art space in East L.A. We kick-started an Eastside L.A. Renaissance that brought together major world-class artists, musicians, actors, and writers with elements of agitprop in a display to the world as a show of unity across racial and economic lines. Our signature song (“El Lay”), with its Dickensian description of the plight of Latinos and all marginalized people, garnered accolades and endorsements in major world media segments from Italy, France, Japan, and the UK. The recognition also included accolades from notables such as The Clash, MC5, Rage Against the Machine, and even the likes of Mick Jagger. Not to mention an appearance on “Late Night with David Letterman.” Velo has also been cited/quoted in Rolling Stone, The Harvard Crimson, and major local news publications across the U.S. and in over 30 political, music, and art university textbooks. He is a retired US Federal Civil Rights Analyst/Investigator.Links:Facebook: https://www.facebook.com/xiuy.velo/       https://www.facebook.com/losillegals/PBS SoCal (Live @ the Ford): https://www.pbssocal.org/shows/live-the-ford/clip/los-illegalsSongs Samples:(0:00-0:45) Los Illegals, “A-95,” Internal Exile, A&M, 1983. https://archive.org/details/08themall/12+A-95.mp3 (0:08-0:55) Los Illegals, “El Lay,”  Internal Exile, A&M, 1983. https://archive.org/details/08themall/12+A-95.mp3 (0:12-1:10) Los Illegals, “We Don’t Need A Tan,”  Internal Exile, A&M, 1983. https://archive.org/details/08themall/12+A-95.mp3 Interview Transcript: https://sonix.ai/share/uc7S6E9tVvZGSzgFXf8ScAAZThis episode was recorded on March 16, 2024, in front of a live audience at the Frida Kahlo Theater in Los Angeles. Bella Gerard edited the audio and interview transcript.

Nina Diaz (co-songwriter and musician/performer) made her theatrical debut in 2019 as part of The Neighborhood Band in About...Productions’ Evangeline, the Queen of Make Believe. Now off-stage, Nina has co-written with Theresa Chavez the punk songs for About...Productions’ 2022 premiere of Adobe Punk. Nina Diaz's musical career began at the age of 13, as main writer and front woman for San Antonio all-female punk band Girl in a Coma. By the time she turned 17 the band was signed to Joan Jett's Blackheart Records where they released four albums. The band toured widely sharing the stage with Morrissey, Tegan and Sara, and The Smashing Pumpkins to name a few. Nina Diaz' vocals and songwriting style compare to artists like Bjork, Jeff Buckley, PJ Harvey, Garbage, The Smiths, Patsy Cline, Patti Smith, Hole, Stone Temple Pilots, The Breeders, Alanis Morrisette, Nirvana or Gwen Stefani. Recently, her vocals were featured on the Spanish-language reissue of Elvis Costello and The Attractions’ This Year’s Model titled Spanish Model. Nina kicked off the album with her version of “No Action.” Now a full-time solo artist/producer/engineer, Nina released her sophomore solo album in 2022, I Could Be You, You Could Be Me, under the label BeatGirlProductions. Visit ninadiazsolo.com for more information.Links:https://ninadiazsolo.com/https://www.facebook.com/ninadiazsolo/https://www.instagram.com/ninadiazsolo/?hl=enhttps://ninadiazsolo11.bandcamp.com/Song samples:(0:00-0:45) Girl In A Coma, “Smart, Exits & All The Rest, Blackheart Records, 2011. https://www.youtube.com/watch?v=JIL6P2_B3gA (0:12-0:33) Nina Diaz, “Diddly Squat Teaser,” 2022.(0:44-1:00) The Bags, “Survive,” Survive EP, Dangerhouse, 1978. https://www.youtube.com/watch?v=ivDsKQtou_w (0:32-1:00) X, “In This House That I Call Home,” Wild Gift, Slash Records, 1981. https://www.youtube.com/watch?v=AFlGMARnaTQ (0:07-0:46) Nina Diaz, “Personality Confession,” I Could Be You, You Could Be Me, self-published, 2022. https://www.youtube.com/watch?v=zzHrTCMRNWQInterview Transcript: https://sonix.ai/share/VXvadvTVygfFqYDNuDkHxM9CThis episode was recorded on March 15, 2024, in front of a live audience at the Frida Kahlo Theater in Los Angeles. Bella Gerard edited the audio and interview transcript. 

Introducing…. a PUNKAST mini-series: Adobe Punk: the concert, Mini-Session InterviewsIn this introductory episode, Jessica Schwartz (Punkast host/producer) and Theresa Chavez (About Productions, Adobe Punk co-creator) discuss their unique collaboration that produced mini-session conversations with punk trailblazers about their formative contributions and ongoing vital roles in the dynamic subculture. These conversations between Schwartz and each guest (see list below) were recorded live before each performance of Adobe Punk: the concert. Chavez locates Adobe Punk: the concert as a musical extension of the theaterwork she co-created with Gabriel Garza, and we are treated to some music, which Chavez co-composed with Nina Diaz (Girl in a Coma). Situating the issues explored in the mini-session conversations within the larger aims of the March 2024 musical performances, Chavez touches on the importance of topical threads, such as the meaning and evolution of punk, punk ethos and artistic freedom, L.A. punk geography, squatting, and punk feminism, that animate Adobe Punk and position its energetic songs and stories amidst the broader history of punk and the people who live(d) it.  Adobe Punk: the concert took place in front of live audiences at the Frida Kahlo Theater (Los Angeles) from March 15-17, 2024 and the Lineage Performing Arts Center (Pasadena) from March 22-24, 2024. Each night, after a brief introduction by Chavez, these one-on-one conversations kicked off the concert by offering distinct punk perspectives from: Nina Diaz, Jesse Velo (Los Illegals), Mike Watt (The Minutemen, The Missingmen), Lisa Fancher (Frontier Records), Teresa Covarrubias (The Brat), and Jimmy Alvarado (Razorcake, La Tuya, Eastside Punks video series).**in order of episode and nightly appearanceFor more information: https://www.aboutpd.org/adobe-punkSong Samples:(0:00-0:51) Theresa Chavez and Nina Diaz, “Not to Scale”, Adobe Punk, About…Productions, 2022.Episode Transcript: https://sonix.ai/share/ZSnCCzcUAUozUwZs9rogyvypThis episode was recorded over Zoom. Bella Gerard edited the audio and transcript.