Pop-Punk

I'm not a huge pop-punk fan, but it will always hold a soft spot in my heart thanks to a mixtape that was given to me by a friend's older brother. The year was 1996, I was a confused high-school freshman, sporting both Operation Ivy and Korn patches on my backpack. I saw an older kid around school wearing an Elvis Costello shirt. I knew of Elvis Costello – he was that guy that my parents both listened to. I knew that EC was considered punk, but it didn't quite add up to me. I mean, where was the desperate, throat shredding vocals and heavily distorted guitars that marked all the punk that I knew about? Even still, I could tell that this anonymous dude in the Elvis shirt knew something that I didn't.



At some point before the end of that year, I became friends with a girl in my P.E. class, and eventually met her brother. It turns out that he was the guy I'd seen around campus in the Elvis Costello shirt. He must have seen me as a kid teetering on the edge of being just another suburban dork who'd either dig a few inches into the underground, or possibly a kid with the smarts to get into some really good music. He made a great mix for me, and I listened to it constantly for years. I didn't really have much money as a teenager, and without a car, or a good record store in town, this tape was my only link to the stuff that I could find at The Wherehouse (the now defunct, major music retailer).

To this day, I still listen to a lot of the bands that appeared on this tape, and they set the standard for my interest in pop-punk. The bands on my tape were genuine, and reflected the true spirit of punk. Perhaps not all of the bands had "serious" lyrics. Most certainly didn't spit their rage at sociopolitical ills, but what they did do was capture the sound and feeling of being an outsider. These were the bands that wondered if maybe it wasn't the world that was fucked up, but perhaps it was them personally. The songs weren't just about not being able to get girls, the songs were about disconnection.

When I listen to a band like Weston, Jawbreaker, Knapsack, or Dillinger 4, I can relate. When I hear a band like Fight Fair, it comes off as frat boys posing as sensitive losers. The bands of yore sung songs about having nobody to talk to, nobody to love. Today's bands seem to be aimed at connecting with the Prom King and Queen. Go to Fight Fair's MySpace page, scroll down to the section that has their music lawyer's contact info, and I think you'll get the gist. It's about selling an image, and finding the most effective vehicle to do so. 15 years ago it was edgier bands like Rancid, and today it's bands with vaguely pop-punk stylings. The cycle goes on and on.

IN OUR MINDS AND IN OUR HEARTS, WE FEEL THAT POP-PUNK MUSIC SHOULD STAY OUT OF BIG BUSINESS AND STAY IN THE LONELY BEDROOMS WHERE IT BELONGS. ALL YOU KIDS OUT THERE, ALWAYS KEEP THE FAITH!



OK, that last part was a joke. Hopefully you enjoyed reading this entry, and hopefully you agree with me. Now enjoy this Weston video from 1995.

Humanity Is The Devil - Issues V through VIII

Yet another issue of Humanity Is The Devil is complete. In the past two years, I've produced eight issues, mainly focusing on graffiti in the streets of San Francisco. In addition to the graffiti content, I've also collaborated with two other photographers in order to bring you their vision of life in San Francisco.

Single issue and package pricing is posted at:
http://www.blacksummer.com
http://www.blacksummer.com
http://www.blacksummer.com


ISSUE VIII: SAN FRANCISCO GRAFFITI
The biggest zine I've ever published. 64 pages featuring photos from the Spring of 2009.

INFO:
July 2009
64 pages
5 " x 7"

ISSUE VII: SAN FRANCISCO GRAFFITI
A pocket sized zine photographed in the Fall of 2008 in San Francisco.

INFO:
January 2009
50 pages
4" x 5"

ISSUE VI: SAMMY WINSTON'S (S)CRAPBOOK
A pretty little pictographic walk down memory lane with King Spiderghost as your guide. This is HITD Zine's second ever collaboration, and its first ever color publication.

While this book is largely personal, if you're looking for pictures of 90's era SF graffiti, there's some gems in here. Also for fans of little kids with guns in their mouths.

INFO:
JULY 2009
48 pages
Full bleed
8" x 6"

ISSUE V: SAN FRANCISCO GRAFFITI
A top-fold zine photographed in the Fall of 2008 in San Francisco.

The first issue produced with full bleed art. White margins are ugly, and are now a thing of HITD Zine's past.

INFO:
December 2008
40 pages
Full bleed
8" x 5"

ISSUE IV: SAN FRANCISCO GRAFFITI
A standard, half-sheet sized zine photographed in the Summer of 2008 in San Francisco.

INFO:
Summer 2008
42 pages
5.5" x 8.5"

ISSUE III: CONDITION SAN FRANCISCO
HITD Zine's first collaboration. Featuring more than 50 documentary photographs by Chris Willmore. Frisco is a grimey place and this proves it.

INFO:
Summer 2008
32 pages
5.5" x 8.5"

ISSUE II - SAN FRANCISCO GRAFFITI
More graffiti from the streets of San Francisco. Photographed in the Summer of 2007.

INFO:
January 2008
32 pages
5.5" x 8.5"

ISSUE I - SAN FRANCISCO GRAFFITI
The first issue. Frankly, this one isn't shit compared to the following issues. I've got a bunch of copies left over so I've dropped the price to $1 + s/h.

INFO:
March 2007
32 pages
5.5" x 8.5"

Humanity Is The Devil - Issues I through IV

I've been on a super creative streak this week. Got home from tour. Recorded two tracks at Atomic Garden yesterday with Dom and Blaine. Today, I played around on Garage Band and demoed a new song for a projects I've been meaning to start for a long time. I've got a bunch of new zines - mostly complete, just gotta get them stapled and dropped off at the usual places.

Hopefully the impending job search doesn't hamper this streak too badly.

I do not care if Fucked Up is too popular for the cool kids to like anymore... this interview is incredible.