+--------------------------------------+------------------------+ | &&&& && && &&&&& &&&&&& &&&&& | COWGIRLS GET THE BLUES | |&&&&&& && && &&&&&& &&&&&& &&&&&& | CHOCOLATE | |&& && && && && && && && && | ABSOLUTE BEGINNERS | | && && && && && && && && | CHOCOLATE | | && && && &&&&&& &&&&& &&&&&& | SHONEN KNIFE | | && && && &&&&& && &&&&& | I LOVE KOALA | |&& && && && && && && && | CHOCOLATE | |&&&&&& &&&&&& && &&&&&& && && | SAN FRANCISCO SEALS | | &&&& &&&& && &&&&&& && && | CHOCOLATE | | | VELOCITY GIRL | | &&&& &&&&&& && && &&&&& && &&&&& | CHEWING GUM | |&&&&&& &&&&&& && && &&&&&& && &&&&&& | ANTI-SOCIAL COMMENTARY | |&& && && && && && && && && && | JONNY COHEN INTERVIEW | | && && && && && && && && && | | | && && && && &&&&&& && && && | | | && && && && &&&&& && && && | | |&& && && && && && && && && | | |&&&&&& && &&&&&& && && &&&&&& | | | &&&& && &&&& && && &&&&& +------------------------+ | | | &&&& && &&&& && && &&&&& &&&& &&&& && && +-----+ |&&&&&& && &&&&&& &&& &&& &&&&&& &&&&&& &&&&&& && && | J 1 | |&& && && && && &&&&&&& && && && && && && && && | U 9 | | && && && && && & && && && && && && && && && | N 9 | | && && &&&&&& && & && &&&&& && && && && &&&& | E 4 | | && && && && && && && && && && && && && && | | |&& && && && && && && && && && && && && && && | | |&&&&&& &&&&&& && && && && &&&&&& &&&&&& &&&&&& && && | | | &&&& &&&&&& && && && && &&&&& &&&& &&&& && && | #3 | +---------------------------------------------------------+-----+ | [ But I fear the Indians of Cleveland ] | +---------------------------------------------------------------+ Hey there! Blah blahblah, hello. Blah, blah blah, blah hummus is a meal in itself. Blah blah!!! Yummy! Blah blah blah blah blah blah O.J. Simpson?!?! Blah! Saddest thing I ever heard. Blah blah blahblah blah blah blahblah blah blah blah, this east coast heatwave is a major pain! Blah blah blah blah blah blah blah, seen the Lion King? Blah heatwave blahblah blah blahblah blah, James Earl Jones? Blah--blah blahblah blah blah--blah blah blah blah blah blah. Art show, blah blah blah blahblah blah blah blah blah, Billy Dee Williams ain't that bad an artist. Blah "Well blah de blah," blah blah blahblah blah love blahblah? Yeah, right! Blah blah blah blahblah heatwave sucks blah blahblah blah blah, damn! Blah blah blah blahblah blah blah blahblah blah blah need sleep. Blah blahblah damn heatwave blahblah blahblah blah blah, bye for now! Blahblah later! Your over caffeinated e-zine buddy, / \ / /____ ____\/___ / //____\\ \ \ \___// \\____\ \ +---------------------------------------------------------------+ | [ E-MAIL ] [ STANDARD MAIL ] | | jis@panix.com P.O. Box 242 | | Village Station | | New York, NY 10014 | +---------------------------------------------------------------+ TITLE: Even Cowgirls Get the Blues (MOVIE) ARTIST: Gus Van Sant PRICE: I paid $7.00 too much. I really, really, really wanted to like this flick but sadly, this thing is lame, lame, lame! Uma Thurman plays Sissy Hankshaw, a woman who is born with two incredibly huge thumbs; a blessing and a curse. They allow her to be the queen of hitchhikers. They look like two huge flesh colored cigar tubes. But even if the makeup was better, the film would still stink as bad as the N.Y.C. Subway on a warm summer day. First off, this film is in some serious need of cohesion. The story, in and of itself, is quirky and intriguing but the pacing of the film is way, way off (maybe that's related to the fact that poor ol' Gus had to edit and re-edit this thing a jillion times before the studio would release it). Second, someone should have called in the nepotism police when Rain Phoenix was cast in this thing as Bonanza Jellybean. She can't act her way out of a biodegradable paper bag. Thirdly--and lastly--great characters like Julian Gitchie (Keanu Reeves), Delores Del Ruby (Lorraine Bracco) and The Chink (Pat Morita) were never developed, expanded or explained. Ugh, uggh, UGGGH! Gus has done better work in both _Drugstore Cowboy_ and _My Own Private Idaho_. Rent them. Watch them. Love them. ================================================================= TITLE: American Bar (CANDY) ARTIST: Fujiya Very rich and chocolatey stuff from those fine candy makers in Japan. A huge 6 inch long monster of a chocolate bar filled with nut chips and cookie crumbs. Yum! I almost forgot to mention the little air-bubbles in this thing which makes it literally melt in your mouth. Absolutely, dee-lish-uss! But here's a word of warning for all you candy loving people out there. Don't _ever_ do what I did and eat this thing at 4 in the morning when you can't get to sleep and you start to have some severe munchie-like urges. Although the taste _will_ make you feel good, believe me buddy, within minutes you _will_ feel nauseous as hell! Not mention the fact that sugar and theobromine (the stuff in chocolate that gives it that caffeine like kick, FYI) doesn't help _anyone_ with normal body chemistry get to sleep. So don't be a putz--like moi-- and eat stuff like this in the middle of the night, okay? ================================================================= TITLE: Absolute Beginners (ZINE) ARTIST: Absolute Beginners Club ADDRESS: Andrea Vaughn (P.O. Box 413, Saint James, NY 11780) PRICE: It goes for $2.00 post paid (USA) and $4.00 post paid (WORLD) It's 1994 and mods still exist. And out in the seemingly sterile, suburbia-like land of Long Island of all places. This zine is filled with mod manifestos, ramblings and related popish and punkish miscellany. It's totally great! While I don't totally agree with some of the politics and such that are espoused in this thing, there is enough balance between serious and light-hearted stuff in this zine to make it very readable and enjoyable. I loved the essay on the joys of doing origami (which includes diagrams of course). I liked the short interview with Michael G.-- who along with Andrea Vaughn, founded the Absolute Beginners Club-- since he echoes a lot of feelings I have about the art and music scene here in New York. And the piece on Andrea meeting Kerokerokeropi is really, really neat. I especially loved the part where the jaded author sums up her experience in the line "Sanrio should just stick to what they really do well--making stuff that's useless and fun. Kind of like life." So true. So, so true. ================================================================= TITLE: Prince Polo (CANDY) ARTIST: Olza S.A. Poland based Olza self-describes this stuff as "crisp cocoa wafers with chocolate coating". Yeah, they are chocolate coated crisp cocoa wafers--very good tasting chocolate crisp cocoa wafers, if I do say so myself--but they forgot to mention the most important thing about their product. Prince Polo bars are cheaper than dirt!!! A box of 15 of these bars goes for about 4 bucks when you buy it from most any of the Russian vendors in Little Odessa (which is more commonly known as Brighton Beach, Brooklyn, N.Y., U.S.A. for those who don't know). That comes out to about 25 cents per bar folks; a damn tasty and thrifty deal. The only gripe I have stems from a little "note to customers" Olza encloses in each box of this stuff. For the most part, it's nice and cordial and thanks you for buying their product, but then they tell you that "under the influence of heat, chocolate may become grey, what does not influence its taste or nutritive value." Broken english aside, nobody is _ever_ going tell me that eating grey chocolate is a good thing. Grey chocolate? Bleagh! I'd rather eat that white chocolate stuff (which, to me, is not really white or really chocolatey at all). And "nutritive value"? What's up with that?!? Nobody I know consumes chocolate for it's "nutritive value". That is unless it has peanuts in it. Peanuts are a good source of protein, you know. ================================================================= TITLE: Shonen Knife and Combo Congas (LIVE SHOW) ARTIST: Pretty obivious, I think. WHEN: June 5, 1994 WHERE: Osaka, Japan [Review by Matt Kaufman] I saw Shonen Knife yesterday (June 5, 1994) and they were amazing. They did all the songs they used to do before they signed to Virgin such as _Bananafish_, _Fruit Loop Dreams_, _Public Bath_ etc. The only bad thing about the show is that since school is out in the United States a lot of yuppie types are coming to Japan to visit their friends and stuff. There were a couple of jerks who pushed their way up to the front without any consideration for others. Naoko talked about being on _Late Night with Conan O'Brien_ with John Goodman, and either the streaker or the inside-out body guy came on but I couldn't hear because the two yuppies started yelling "Yay Conan" at the top of their lungs. But the show was still great and anyone who says they can hardly play their instruments has got to be insane. Oh, they also had a flea market in which they sold clothes and stuff. I got a leather jacket (Made in England) for my girlfriend for only 10 bucks! I bought a hooded sweatshirt thingy for 2 bucks and I got this Koala button that they picked up on tour in australia for a dime (See review below). The opening act was this power pop duo called _Combo Congas_ and they were incredible. Kind of like Shonen Knife's little brother band. For the encore both bands came out and did _Cycling is Fun_ and a cover of the 60s swinger, _Heatwave_. [ SETLIST (Shonen Knife): _Miracles_, _Banana Leaf_, _Summer Time Boogie_, _Elephant Pao Pao_, _Chocobars_, _Bananafish_, _I Am a Cat_, _Ice Cream City_, _Public Bath_, _Cherry Bomb_ (Runaways/Joan Jett cover) and _Lazybones_. ENCORE (w/Combo Congas): _Cycling is Fun_, _Fruit Loop Dreams_ and _Heatwave_. ] ================================================================= TITLE: "I LOVE KOALA" Button (MISC) ARTIST: Someone This button would be your average run of the mill cute kiddie button, except for a few things. First, he is chewing some sort of funny looking flower in his little koala mouth. Second, the koala has this spacey, goofy, giddy smirk on his little koala face. Third, his little koala paw is buried in his little koala crotch. What the heck _is_ this koala doing? What type of flower _is_ he chewing on? This may be an _I LOVE KOALA_ button, but I personally think this koala is doing a pretty good job of loving him/herself. Yes-sir-eee. ================================================================= TITLE: Nutty New Yorker (CANDY) ARTIST: New York's Finest Chocolate Company I've been seeing these chocolate bars in stores all over the place. But something instinctually kept me from trying this new junk food product. Yet eventually, in a desperate need for food, I caved in and bought one. Cookie chips, almonds and milk chocolate. Sounds good, huh? Normally that's not a bad combination, but man oh man, there is definitely something wrong here. Eating this thing was a big, nay, _humongous_ mistake. After eating this thing, I felt incredibly nauseous. I haven't felt this sick since I ate a screwed up hot dog back when I was eleven. I haven't puked since. This thing may break might break record. Uggh! I'm going to lie down now. ================================================================= TITLE: Now Here (CD) ARTIST: The San Francisco Seals ADDRESS: Matador Records (676 Broadway, New York, NY 10012) PRICE: I paid $10.99 Barbara Manning, driving force and co-producer of this thing, can do no wrong. This whole album is one great collection of guitary, folksy, jangly pop. This is the kind of stuff I kill for, and I love this thing to death! Swingin' original tracks like _Back Again_ and _Day 12_ mix in perfectly with cover tracks like _Baby Blue_ and _Janine's Dream_. Most of the audio non-sequiturs that pop up all over this album are fun and neat, with one exception. The alarm-like bells near the end of _Back Again_ really throw the song off-kilter; they are _way_ too distracting. But who cares about nit-picky stuff like that. As a whole, this is well worth listening to. ================================================================= TITLE: Crunky Kids (CANDY) ARTIST: Lotte This Japanese candy gives _DEAN Chocolate Candy_ (See Slambook #1) a serious run for the money. Little bite-sized, pillow shaped dark chocolate squares filled with crispy rice. This stuff is damn good eating! Not too sweet. Not too bitter. And the crispy rice stuff is actually spread evenly throughout each little piece of chocolate. How _did_ they do that? And if that wasn't enough to convince you that this stuff kicks, check out the neat packaging. The chocolate comes in a little box with a drawer that slides out when you want a piece of chocolate and neatly slides back so you can save some for later (so you can save some for later and not be a pig, FYI). Works a lot more effectively than the little "fold in the flap" contraptions that are on most boxes of American chocolate. The fine people at Lotte put a lot of thought and care into this thing. Only wish the marketing team came up with a better name. _Crunky Kids_? Who would want to eat a Crunky Kid? What's next? Moody Bastards? ================================================================= TITLE: Sorry Again (CD) ARTIST: Velocity Girl ADDRESS: Sub Pop (1932 First Avenue, Suite 1103, Seattle, WA 98101) E-MAIL: info@subpop.com PRICE: I paid $7.00. This maxi-single sounds okay... Well not really... But, I dunno... I mean geez, this isn't the _Velocity Girl_ that _I_ remember. But I guess I remembered them wrong? Or maybe they're reinventing themselves? Who knows. The title track--which comes off of their second full-length album _Simpatico!_--is really great guitar pop. I definitely could listen to more stuff like this. But the other tracks really fall flat and do nothing for me. _Marzipan_ is decent, but not to die for. _Diamond Jubilee_ is the only track on this maxi-single sung by Archie, and it doesn't really come off well on any level. _Labrador_ is just totally unbearable to my ears. The synthesizer stuff in it just reminds me too much of the riffs that you hear mainly on early 80s "new-wave" songs. Ugggh! Overall, the sound is too smooth and calculated for my taste. It didn't grab me in the same way that Velocity Girl's older material did. *sigh* Oh well, things change. That's life. Time to chew some gum. ================================================================= TITLE: Black Black (CANDY) ARTIST: Lotte You haven't lived until you've tried _this_ stuff. It's been highly recommend to me by many sugar jockey friends of mine, but I'll be damned if I ever consider _Black Black_ to be "sugary" in any way. This is the weirdest candy I have _ever_ tasted. The flavor changes and mutates the longer you chew it. First, it tastes like licorice--really gritty, bitter and strong licorice. Then it gets minty--sharp and mouth stingingly minty. Then it gets mentholy--much more mentholy than even most throat lozenges get. If you keep on chewing it, before you know it, it tastes like your mouth has been swabbed down and scrubbed out with some kind of industrial strength cleanser. Bleagh! Although it tastes horrific, it does have a purpose. Its potent flavor can help clean out, wash away and destroy any unwanted odors or aftertastes in your mouth. Bad tasting _and_ useful. ================================================================= TITLE: Anti-Social Commentary #1 (COMIC) ARTIST: Emily Ryan Lerner ADDRESS: Emily Ryan Lerner (P.O. Box 12, Old Chatham, NY 12136) PRICE: It goes for $.50 plus two first class stamps. This small collection of comics by Emily is extremely likeable. The artwork is very simple, doodly and scrawl-like. The stories are neat and well paced. _Conversion of the High Schoolers_ is an amusing commentary on religious "right wing old men in suits" who pass out bibles, and try to convert kids in and around school campuses. I almost died laughing at _An American Love Story_. It's the heartwarming the story of a crazy man named Bob who falls in love with a monster who is roaming the city in search of health food ("anything organically grown"). One of the best lines comes when the relationship between Bob and the monster goes sour, "Bob lived with the trees until Christmas season." Surreal _and_ funny. A neat combination. ================================================================= TITLE: Jonny Cohen (PERSON) ARTIST: Jonny Cohen ADDRESS: TeenBeat (P.O. Box 3265, Arlington, VA 22203) Jonny Cohen is namesake, head honcho and driving force of TeenBeat rock sensation, _Jonny Cohen's Love Machine_. The Love Machine's sound can be called anything from rockish to punkish to popish to whatever. Although you can't pin a label on the Love Machine, Jonny himself is definitely creative, funny and has a weird sense of humor. This interview was done in May, 1994. [SLAM] Is there any basic rule you stick by as far as the whole creative thing goes? As far as keeping your focus goes? [J.C.] I find that not hearing too much about what the public thinks helps a lot. [SLAM] So it's better to concentrate on yourself. [J.C.] I find it better to just do your stuff. Not leave yourself vulnerable to what people say. I always want to hear what people have to say, but I find that it's better not to hear it. [SLAM] Does _Jonny Cohen's Love Machine_ do live gigs? [J.C.] We play in Washington, D.C. quite a bit. [SLAM] Is that with the lineup that's off of _Getting Our Heads Back Together_? [J.C.] No, it's changed a little bit since then. We have a new a drummer who was on _Getting Our Heads Back Together_ but someone who played bass for _Getting Our Heads Back Together_ isn't in the band anymore. And we have someone who's playing guitar with the other guitar player. And the guy who played piano on _Getting Our Heads Back Together_ is playing bass, just because it was convenient. When you have friends and they want to do it- -and it seems like good there's chemistry--you shift a bit. [SLAM] How did you get started in the whole punk/indie-rock thing? [J.C.] It's really a thing where you could say I just did it because my friends did it. I just thought "Hey! I can do this." So I just thought that I could do it, and I guess I had a sense of fun about it. [SLAM] For me that's the neatest thing about it. It sounds like it's totally spontaneous. [J.C.] I kind of went nuts. I just thought it was really fun. In some ways I don't understand the where I come off, the way I come off. Like with _Time Loop_ (from the self- titled first album), all I was thinking in _Time Loop_ was that it sounds circular. And I thought "Wow, that's really fun." [SLAM] So it's all spontaneous fun, as opposed to stiff, calculated expertise. [J.C.] Expertise can be an excuse for not showing yourself. [SLAM] Is your singing related to that? Since a lot of people's first reaction to your music is "Uggh, _he_ can't sing!" [J.C.] I really don't realize too well that I can't sing. So, I just think it's a good time and that I'm getting my words across and everything. I don't really recognize that I can't sing. That's part of the reason I'm able to do it. If I was really aware that people hated my singing I don't know if I could do it. What was I thinking was "I hope they get crazy and catch on to the circularness and run around in circles and just smash each other and stuff like that." [SLAM] Just get into the whole sound of it. [J.C.] The whole visual effect. I think it's psychedelic and it's the funness of it. I could just imagine everybody dancing in circles and hitting each other and having fun. [SLAM] Does that ever happen? [J.C.] No. That doesn't happen. (laughs) [SLAM] So what do people end up doing at live shows? [J.C.] That was a big disappointment to me; I think I was very naive. I thought that for each song people would start doing different things and stuff like that. It didn't happen. Some things happen that make it hard. I don't project as well as I would like to live, so people can't hear the words a whole lot. [SLAM] Does the audience just stand around and stare, or do they mosh like idiots? [J.C.] No, no. They just stand around. People who do mosh tend to not be that interested; they do it as a joke and then leave. And then I get excited because they do that-- because that's what I want these people to do--and then it turns out that they're not interested. It's funny that way. [SLAM] Where do the shows happen? [J.C.] We play at the _15 Minute Club_. We have a regular gig there right now. We get occasional shows at other places, but I like the _15 Minute Club_. We also played at the _Simple Machines Working Holiday Three-Day Weekend_. [SLAM] How did that go off? [J.C.] I have a hard time getting a feel for live shows, but I thought we had a real good show. The band we had at that was very spontaneous. It's getting to be more of a straight rock and roll thing than a gimmick thing. That's just the way it's going. At first I had gimmick idea and nobody responded to it. [SLAM] Gimmick? [J.C.] I came up with a gimmick for most of my stuff. _Time Loop_ = People dancing around in circles. _Civil Underminer Engineer_ = People putting on sunglasses and acting cool. I kind of had a gimmick for every song. Now I kind of went off that, and just started trying to make interesting sounds and stuff and start to go in a rock and roll direction. Another thing with the songs is that I try to make them unique and interesting musically. I've been going more in that direction, partly from people not latching onto my gimmicks and partly as a kind of confidence in my own musical ideas. I don't have a good voice. I have good ideas. I'll stick to that. [SLAM] What drives you? Where do the ideas comes from? [J.C.] Being half crazy and wanting to express myself. And actually, I don't know where my ideas really came from. I liked pop music as a kid, but I don't see it too much in the stuff I do. I do see it partially. You know the songs in 70s like _How Do You Do_ and stuff like that. Where the melody would convey certain emotions. It was very based on the melody. And the melody would have a goofy sound. And I think I was thinking I wanted to do that, and kind of have it with more of an edge. More exciting. Less restrained. More all out. So in a way it's like putting an edge on commercial pop from the 70s which I like, but I wish they would have gotten more creative. [SLAM] So you'd call your sound more of a punk/pop sound? [J.C.] You can call it punk _Captain and Tenelle_. That kind of is what I was thinking. People with good ideas but they were too restrained. I do think the visual side of melodies can really be fun. I like hearing a song and getting pictures in my head from the melody and from everything, actually. I think I have more of a problem just feeling the motions of the beat and everything. I kind of see music like seeing images in my head more than feeling it. [SLAM] So there's a whole visual aspect to your stuff. Anything else? [J.C.] Another big thing about it is that I've gone through my whole life feeling like everything I do is mediocre and nothing I do is worthwhile. And you just think that and you say "Screw that." You know, what am I going to do? Just live my life and have everybody tell me that I am a mediocre person, or am I going to try something and say "To hell with it." I think a lot of people get discouraged in general because they are taught none of their ideas are very good. [SLAM] So it's better to just say "Fuck it" and do it. [J.C.] It seems to me that's almost what you have to do to do it at all. You have develop that attitude. That's certainly what I had to do. [SLAM] What input does the band have in things? [J.C.] The guitarist Pete (Nelson) has done all my records and he's really great and me and him a great rapport. His feelings and my feelings mesh really well. He definitely plays the songs as an individual; he has his own style and everything. But that's good, I think that in art you have to compromise and not compromise. [SLAM] Balance things out. [J.C.] We have struck a balance. It seems like he really makes my stuff go. He's been very vital. These days we have another guitarist working with him. [SLAM] Are there plans to put out any new material? [J.C.] We have some ideas, but I did kind of start off with a bang where I just went crazy and then I cooled off. That's just the way I am. When I have an idea sometimes I just go crazy with it and then I sort of start to think and then things slow down. Something will happen and then I'll think about it and I'll ease off quite a bit. [SLAM] Eternal procrastination? [J.C.] At first I'm just real excited about something and just go crazy. And then I'll start to think a little and some of the edge goes out of it. [SLAM] The _Space Butterfly_ material sounded a lot different from all your other stuff. [J.C.] That was more of an arty thing. I actually wanted to just put out _Getting Our Heads Back Together_ next, but things went slow and I had to keep things going and I got together another talented musician (Ward Shortridge) with Pete again and Ward's brother (Matt Shortridge) who plays fiddle. I started working with another friend whose thing is folk music and he does it very well, and it's much different than rock music. So it gives it a real different feel and that's definitely a good thing about my songs is that they're very adaptable. I mean I originally wrote the songs with the idea that if I didn't get any help, I'd sing them by myself. So when that happens, the instruments tend to just be gravy. Because if you can just sing a melody and it has the feeling of the song in itself, I think that all the musician has to do is play the song with the feeling. And that's it. [SLAM] So it flows because it's simplicity. [J.C.] Just as long as the musician feels it. I think actually on different cuts and stuff you can hear the musicians feel it more or less in the different ways that they're done. [SLAM] _I'm Not an Anorexic_ (from the _Space Butterfly_ 7" EP) was really weird in a good way. [J.C.] _I'm Not an Anorexic_ I wanted to do as a rock song. But I don't know, it doesn't sound as good as a rock song. [SLAM] It's a real scary sounding thing. [J.C.] Mark (Robinson) helped to produce that song and the scary idea was partly his and I'm scared of that stuff because I like the songs to be straightforward and not confusing. And that song is confusing. [SLAM] What was the concept behind that one? [J.C.] The idea is to have this punk rock song about anorexics. The idea was to play it like a rock song and have these anorexic girls dancing around hitting each other. I always have ideas of people smashing each other. [SLAM] Man oh man, what a visual you just gave me! [J.C.] That was the idea. Having an anorexic rock band playing _I'm Not an Anorexic_ and all these skinny girls hitting each other and stuff. [SLAM] That's really surreal. [J.C.] Mine is a happy anorexic song that I think that a real anorexic band would play. But it's a fantasy. I'm just an optimist you know. [SLAM] Any else you want to say? [J.C.] One thing. With art and performance. It's just tricky. You don't want to give too much of yourself away. There's got to be a balance or it can drive you crazy. It'll ruin the whole thing. +---------------------------------------------------------------+ | This was SUPER STUPID SLAMBOOK #3 (JUNE 1994) | | All contents (c) 1994 Jack Szwergold, all rights reserved. | | And after saying all that, I realize that this is an elec- | | tronic zine, which by the nature of it's medium, allows it to | | be duplicated with little or no effort. So this is to let | | you know that distribution is free. You can copy and send it | | to as many people and places as you want. But the content is | | mine, and plagiarism is just not a nice thing. Which is the | | only reason why I stuck a copyright statement on this thing. | | So be nice, and don't claim authorship to things you didn't | | write. Okay? | +---------------------------------------------------------------+ | [ WHERE TO FIND THE SLAMBOOK ] | | | | USENET: Each issue of the Slambook is posted to _alt.zines_, | | _alt.etext_, _alt.comics.alternative_ and _alt.music. | | alternative_ as well as various other sundry news- | | groups on the USENET. | | GOPHER: gopher.well.sf.ca.us (Thanks to Jerod at Factsheet 5) | | E-MAIL: For all you lazy types who don't like slumming on the | | USENET or playing around with gophers, you can get an | | e-mail subscription to the Slambook. Drop me a note | | telling me you'd like to subscribe and you'll be | | added to the Slambook's ultra-hip electronic-mail | | distribution list. (NOTE: I'm not a LISTSERV, and I | | don't play one on TV. So please don't send me any | | cryptic LISTSERVish messages, okay?) | +---------------------------------------------------------------+ | [ GRAFT, GOODIES AND GENEROSITY ] | | | | You all like stuff! I all like stuff! We all like stuff! | | But please be sure to remember that any and all materials | | sent to the Super Stupid Slambook offices will not be | | returned unless accompanied by a self-addressed stamped | | envelope. There is also no guarantee that what you send will | | be reviewed. That's life. | +---------------------------------------------------------------+ | [ ASK ME ABOUT MY MINI-COMICS ] | | | | If you haven't even read or seen any of my minis, send me | | some e-mail and I'll zap you some info on them. They're more | | fun and entertaining than Maynard G. Krebbs and Jack Palance | | smoking catnip. | +---------------------------------------------------------------+ | [ E-MAIL ] [ STANDARD MAIL ] | | jis@panix.com P.O. Box 242 | | Village Station | | New York, NY 10014 | +---------------------------------------------------------------+