924 Gilman St: Let’s Talk About Tact and Timing

I just finished watching (re-watching) "924 Gilman St: Let's Talk About Tact and Timing..." a film documentary by Jack Curran, and while I wasn't moved to write an overly critical review of any sort, I did have some thoughts and observations to share.

The first thing, and I really want to make note of this before forgetting, is that Ian Mackaye has one of the most spot on observations about Gilman, which comes rather late in the film actually, and is directed to the filmmaker himself. He basically points out that Gilman is the kind of space and idea that causes someone like Jack Curran to travel across the country interviewing people about it. In otherwords, Gilman has given so much that you actually want to pay tribute and give back to it, whether it's making a film about it, or showing up every weekend to volunteer. Now, I don't know 100% whether this was something that Jack himself grabbed a hold of and said, "yeah brother, you nailed it", but I can tell you that a lot of our current volunteers, who happen to be older than most of those featured in the film, would definitely echo that sentiment.

Ian Mackaye also makes one of the most inaccurate statements about the club, which comes fairly early in the film. He describes Gilman as a "free space", and he talks about this idea that since it's not profit driven, and it's free of corporate influence, etc., that it doesn't matter how big the crowds are, and if - for instance - two people were to show up to the club to see something really mindblowing or different, then that could happen at a space like Gilman. This description of the club is totally off base, but after hearing it reiterated throughout this film, you would probably not guess that Gilman's rent is closing in on $5000 a month. In addition to Gilman's rent, the club pays out several thousands of dollars a year for liability insurance, business license fees, etc. Gilman is not an official non-profit corporation, and has only recently (2008) been able to finally accept monetary donations through an umbrella organization called Indy
Arts (a link can be found on the Gilman website).

In 2007, when I became head booker at the club, the checking account was empty, and the club was being sustained by a savings account set up in the 1990s by John Hart, to be used for "emergency scenarios". John took a couple of thousand dollars from the savings and put it into the checking account to start us off in 2007, and we've basically been building on that since, thankfully. A quick look at the yearly financials from 2000-2006 clearly illustates that if you lose thousands a dollars a year for several years in a row, then you will eventually reach the point of not having enough money to pay your bills, and this is why the two persons at a show theory is incorrect. Of course, as stated in the extras by Will Sedition, people on the outside looking in at Gilman mostly fail to see the reality of how the club is run, and the same could be said for our own community unfortunately.

Back in December of 2006, Jesse Townley organized a round table discussion that (I think) was supposed to address Gilman's past, present, and future. It was as boring as it sounds, but not without some interesting moments. The one I remember the most was also one of the least liked by those in attendance, but it was I believe (in retrospect) almost visionary. The speaker was Kamala, who is also featured in this film, and she commented on Gilman's inability to keep older, experienced volunteers in the mix, thus wasting a valuable resource. She also seemed to suggest that Gilman's trend of appeasing, first and foremost, their 12-18 year old members had had the effect of pushing older punks and former volunteers away from the project. Maybe I'm adding too much, but basically Kamala suggested that the club be more forward thinking by finally taking the steps neccesary to becoming an actual collective. To help illustrate her message, consider that at one point in the film, Gilman's former head coordinator Dave Scattered talks about all the various jobs and responsibilities he has at the club, then mentions that it's like being the manager of a store, "only I don't get paid because we are a collective". This is not consistent with the way other successful collectives function, and either are the bi-monthly Gilman membership meetings. In spite of all those hours and responsibilities that Dave Scattered had back when this documentary was filmed, someone could have literally walked in from off the street and been considered Dave's equal after attending only one meeting, and never even putting in a single hour of work at the club. It should be noted that Dave Scattered is no longer active at Gilman, and either are numerous other volunteers featured in this film, which was shot a mere four years ago.

"924 Gilman St: Let's Talk About Tact and Timing..." reinforces at times, unintentionally I think, the infantilization of the club, which has been a real thorn in our sides the last couple of years when dealing with the city, neighbors, and of course the police. Whether it's the fact that a lot of the films' footage and band performances were shot during the annual punk prom show, which is an event aimed at high school and junior high school aged patrons, or the curious quotes throughout the film by people like Sweetooth (cool dude actually), who hopes that a ten year old who attends the club might possibly take over for him when he is no longer working in the store. Well, that ten year old would be about fourteen now, and if you didn't know, Sweetooth is long gone, and there is a 28 year old head of the Gilman store these days. A store which has turned a profit the last couple of years. I'm not saying that we shouldn't have faith in the kids that come to shows, and especially those that volunteer because they are very important to the success of the club, but perhaps it's time embody the term "all ages" fully, rather than limiting it, and "our club".

That written, I do want to express how grateful I am to all of those East Bay talking heads interviewed in the film (and those not, like Tim Yo and Aaron Cometbus), and I'm talking mainly about Kamala, Jesse M, Adrienne Spitboy, and Jake Filth to name but a few because I appreciate what they contributed to the project, and it was a lot. Like Jake Filth states early on in the film, they were kids, still in high school, and yet the influence of that generation was so far reaching and momentous that it not only helped to define and direct Gilman for a decade after the fact, but it is clearly the focal influence on the Gilman being represented in this film. It's a Gilman in the past tense, but it's a club and a time that is worthy of being documented, by various filmmakers hopefully, so that we can delve further, asking the uncomfortable questions, and doing a better job of documenting more of the diversity, especially in terms of extreme music. Chris Dodge, for example, would have been a good reference point for something like that, and still could be.

Finally, I salute Jack for making this film. It was no small feat, and I do consider it an accomplishment.

- Jay Unidos

Steroids and Baseball Dominate The News

Forget the war, forget the enviroment, forget that Obama danced like Whitney Houston on the Ellen show. Forget that shit, but what's really important is this steroid scandal that is blowing the minds of absolutely no one.

Go read Jose Canseco's book from a few years ago. That about sums it up, and instead of apologizing or trying to act all pissed about this latest blight on the pock marked face of America's favorite pastime, we should all just say, "So what?"

Players, owners, and so forth.

"So what?"

Steroids are everywhere, have been for the last few decades...or longer, depending on what you would classify as a steroid. Synthesized human growth hormone (HGH) has been around for several years now and it's used by everyone that can afford it. HGH is not detectable with standard steroid testing, and if I could afford that shit I'd be using that stuff constantly...on salads, sandwiches, toast!

Hey, you know what? Professional athletes used to take a lot of speed too. Made them more violent, especially the Raiders. I fucking love the Raiders, and that is based on my memories of them grinding their teeth and getting into scraps after every play. They looked like bikers then. Awesome. We won't even get started on pain killer addictions because talk about shattering the fantasies of millions of sports fans who really believe that pro-athletes can finish their seasons with a torn ACL.

If you think that steroids can make an average baseball player into a Barry Bonds, then you're ignorant. Period. Continue to pay $3.50 a gallon for gas, and keep on believing that American soldiers are over in Iraq fighting for our freedom.

"But Jay, we are talking about the integrity of the sport and the message this sends to our moronic, media raised offspring who look up to these ass injecting, genetic freaks?"

"So what?"

A recent interview with Jay Unidos & UGZ is available as a podcast (online)

Go here: www.wethepunx.com/jayinterv...070621.mp3

To download an interview I did in June 2007 with DJ Stormshadow over at Pirate Cat Radio in San Francisco. Subjects addressed, or whatever, are booking, punk, zines, bars, pulled pork, etc.

Cheers!
-Jay

Halloween in Crockett, CA?

Last night was not what we expected it to be. The Saturday night before Halloween and we were on our way to a RIBZY / WHITE TRASH DEBUTANTES show at bar in Crockett, CA.

How does that happen?

It could have been cool you have to admit. What were the other options? Cover band night at Gilman? Sounded interesting, but no. Snake's B-day show at the HazMat? Snake kicks that party up a notch every year, but in the end it's Pyrate Punx, version 2006. That means that along with some cool punx that we really like, you're going to get some rednecks and hippies thrown into the mix. Couldn't we experience similar in Crockett? Plus, you got a bunch of old schoolers and Ginger Coyote, and that is a recipe for something. Did I mention that the NAKED LADY WRESTLERS were also on the bill? No applause!!

The reality.

Showed up a little too early and walked in as the opening band was covering GREEN DAY. Doh! Ordered the cheapest beer on their menu, Coors, which was $3 a bottle and about to turn skunky at any minute. Then there were all the locals dressed like cowboys, periodically performing mock gun fights in the street outside of the bar. Loud (sounded like real rifle shots) local color, not too bad. Not good either. No punks really, except one girl who seemed punky, and since half her ass was hanging out of her plaid skirt, I'll give her the benefit of the doubt. That is ballsy in any bar, but surrounded by cowboys and drunken ex-sugar mill workers? Pretty punk in my book, until I spotted another woman with the ass part of her skirt completely cut out, and then Ginger coyote and WTD arrived, and ya know. Everything is relative.

The night took too long. The party wasn't starting, the bar was fleecing their customers, NAKED LADY WRESTLERS didn't do that one song off of "Not So Quiet On The Western Front". UGZ reps had travelled all the way to Crockett (about 20 minutes - dry those tears) and no comped beer or shots? Damn, we were out of our element. There seemed to be another party going on behind the bar, through a door with a biker type dude standing guard. That's where all the ass exhibitionists and band folks kept disappearing to, and normally we would be escorted back there and offered all kind of powders, pills, and magical elixirs, but nah. It's Crockett. Finally WHITE TRASH DEBUTANTES played! Yay!! It was cool, punk, and John Waters-esque!!! Livin' la vida loca. The headache and instant Coors hangover was put on hold for Susan Lucci, Dildos Are A Girls Best Friend, and a RAMONES cover, and whatever else - fuck off. It was almost worth it, but pur escape back to the East Bay was put on hold, RIBZY was headlining. Doh!

SWEET S I X T E E N!

I finally have a new zine available after what seemed like forever, for me especially. I'm still in need of more distribution, if anyone does one or has any leads. Desert Moon handled the last couple of issues, which means that I'll never get paid for one, but also that I have many more boxes laying around my small East Bay pad.

This new issue has the band stuff (bands we like and support), show stuff (shows we book or helped to book, and support), interviews with interesting people from the punk scene that have something to say and a positive outlook - mostly - on this life many of us lead, columns, and lotsa photos.

The lesson learned on this issue: BOYCOTT THE SMALL PUBLISHER'S CO-OP

They screwed up in so many ways that I would have to write an entire blog about it, and I will. I stayed with them through a lot of issues, but it finally got so bad that I have to advise anyone even thinking about using them...to not!

Paz, Jay (UGZ)

UGZ S I X T E E N! Available for punx who still read fanzines:

CALIFORNIA:
www.axisrecordsandcomics.com
Axis Records in East Oakland
www.myspace.com/pyratepunxrecords
Pyrate Punx Records in Oakland
www.codysbooks.com/
Cody's Books in Berkeley
www.thelonghaul.org
The Long Haul in Berkeley
www.comicrelief.net/
Comic Relief in Berkeley
www.bapd.org/gbotks-1.html
Bound Together Books in San Francisco
www.needles-pens.com/home.html
Needles And Pens in San Francisco
www.aquariusrecords.org/
Aquarius Records in San Francisco
www.geocities.com/Athens/48...m..lhaight
Naked Eye in San Francisco
www.sfstation.com/business.php
Anubis Warpus in San Francisco
www.streetlightrecords.com/
Streetlight Records in San Jose
www.despotic-records.tk
Despotic Records in Long Beach

FLORIDA:
www.soundideadistribution.com
Sound Idea in Brandon

GEORGIA:
www.stickfiguredistro.com
Stickfigure in Atlanta

ILLINOIS:
www.quimbys.com
Quimby's in Chicago

SWEDEN
www.attackfanzine.net/distro/distro.htm
Attack Fanzine in Sweden

La Familia De Perrrrrrrrrrrro!

Many people have been asking me, "so are you going to start booking shows now?"...NOW!? What do they mean?

So I thought it was about time to answer that and other questions that have been puzzling me lately. Here is a list of what I've booked over the last few years. Most of this is off the top of my head, and so there will be typos and a show or two missing, but you'll get a feeling for what we've done and the amount of time and effort that was invested in that shit.

www.wethepunx.com

Check it out if you have time, and hit me back with any feedback or shows that I may have missed. I'll figure the typos out for myself...eventually.

-Jay Unidos

A Holiday Greeting from UGZ Magazine

www.sinistergreetings.com/sendc...rd.php

(SFSU) Magazine Staffer Profile of UGZ

(SFSU) Magazine Staffer Profile of UGZ

- Shaun (San Francisco State University student/former zine editor) interviewed me without a tape recorder for this profile. I added a couple of notes, but other than that...

Magazine Staffer Profile
Nichols, Shaun
Jour 500
Nov. 14, 2004

"The whole thing with zines is to be relevant", explains Jay Unidos,
"once you're irrelevant, I dont want to have any part of it."

In his signature black baseball hat and jacket, Unidos is calm and easy-going.
An east bay native, he is the main force behind UGZ, an independent, underground music magazine that chronicles punk rock in the bay area.

"I wanted a zine better able to reflect the types of things I was
doing in my life", says Unidos, who since the magazines conception has
been responsible for nearly every aspect of its creation and distribution.
He currently plays the roles of writer, editor, photographer, art
director, publisher, and just about anything else necessary to get UGZ
(pronounce the individual letters, not the word) on the streets.

By his own estimates, Unidos does 80-90 percent of the total work,
which includes any editorial content not written by the magazines 10-20
regular contributors.

(on the last issue I would say that was more like 60-70�with the rest being done by Matt Average. - Unidos)

"Eventually everyone in the scene would just sort of adopt it",
suggests Unidos, "its a music magazine whose objective is to be a relevant,
active part of a good music scene."

UGZ, formerly called Urban Guerrilla Zine, began in 1997 when
Unidos, who at the time was contributing to MaximumRockAndRoll, wanted
to start a joint zine/band venture with two friends.

"The band", explains Unidos, "was supposed to bring the zine into an
active community."

"(In theory) As we became more involved with the scene through our band, the zine
would become more involved" says Unidos.

(The band idea went to shit, but not before we had written a few songs. I turned to booking eventually to acheive the same goal.-Unidos)

"The beginnings of UGZ were humble to say the least.
It took us three issues to figure out how to layout an issue without
a page upside down", says Unidos, "we had no printer, so we'd go to
copy shops, and basically in the copy shops we'd cut and paste."

These days, Unidos lays out UGZ with Photoshop and QuarkXPress, though
on occasion he still uses the old cut & paste method. The printing is
done through the Small Publishers Co-Op in Florida. By printing
through the co-op, Unidos says he saves anywhere from 25-50 percent on
printing costs.

"There are printers in the East Bay wed like to go through, says
Unidos, but at this time theyre too expensive for us."

Expenses are a factor to Unidos more than most other publishers,
because the costs of UGZ come out of his own pocket.

"Out of every $1000, we probably lose $700" says Unidos.

He also acknowledges that UGZs commitment to supporting a quality
music scene have hurt revenue possibilities. Unidos says that the honesty
policy in the magazine's reviews drive off many record labels.

"(Other magazines) are driven by ads", says Unidos, "if you find a
cushy review, youre going to find a cushy half-page ad."

"Unless you really know our history," he says of potential
advertisers, "youre not going to come in and think we'd be profitable."

Despite this, he still believes that the magazine is capable of
making modest profits and being self-sufficient.

"Would we be getting rich off of it? No", admits Unidos.

Big profits, however, are of less importance to Unidos, who is
determined above all to keep the magazine relevant and connected to the local
music scene.

"We started from a total grassroots level", says Unidos, "Its very
different, because everyone that contributes is from a D.I.Y.
(do-it-yourself) background."

Born and raised in the East Bay Area, Unidos attended Laney Super College
and Merritt Colleges before transferring to SF State for three semesters, at
which time Urban Guerrilla Zine was born.

"My whole life Ive been a huge fan of magazines," Unidos says "I used
to cut school and go to bookstores and read magazines."

(This should have read liqour stores, but occasionally I'd hit book stores as well.-Unidos)

Growing up, Unidos says that Cream, Rolling Stone, Spin, and Ring
magazines were among his favorite. At age 11, Unidos remembers writing his
first story for boxing magazine that wasnt aware of his age.

These days, he says, he has a different perspective.

"Today I dont even read them, I go to bookstores and flip through
mainly to look at design and layout."

As he brings his publication from the informal, unfocused world of
zines into the polished, competitive ranks of the more professional music
magazines, Unidos has been seeking people to aid in the process, both
financially and through direct involvement.

"I dont want silent partners that just hand me money, he says, "Ive
gotten people to contribute quietly."

(I'm confused about this qoute. We will take your money.-Unidos)

Unidos estimates that about 1500 copies of the next issue of UGZ will
be printed, with all but a few hundred going to various independent
distributors around the country. Unidos distributes the remaining copies
himself to local bookstores and mail order. He places the ultimate
goal for monthly circulation around 150,000 copies.

(This comment was made while drinking in a bar.-Unidos)

"I pretty much instantly sell out, he explains, we've
unintentionally created a collectors market for our zine, which has made its way
onto eBay auctions, sometimes selling for up to five dollars (the cover
price is $1.50)."

(This is sarcasm.-Unidos)

Along with a push for a larger print run, Unidos has also made changes
to the image of his publication.

"We changed the name to UGZ", he says, "because we're trying to
operate as a magazine. In a sense it's still a zine, but we dont operate
that way."

Unidos also suggests that the push to move UGZ to the next level is
not an expectation he has alone.

"Everybody's expecting us to get bigger and better," says Unidos.

One of those people is Joe Franke, owner of Axis Records and Comics in
Oakland. Franke admits that it took him a while to recognize Unidos
and his zine.

"I was like who is this guy?" says Franke, who now says that UGZ
sells extremely well.

"He's not as business-minded as he could be," says Franke, "but that's
also the downfall of a lot of magazines: theyre in bed with the
advertisers."

Franke also thinks that Unidos honesty in writing and his loyalty and
support for the local music scene also serve to benefit UGZ.

"Jay's somebody that a lot of people confide in or look to for advice,
and I think thats due to his publication" Franke says, "he's privy to
a lot of things that he doesn't print."

That sense of trust and respect seems to be as important to Unidos as
any monetary success.

"Its based on an ideal of what punk is supposed to be," he says, "I
still feel like our magazine could be significant."

Even if UGZ does fall to the wayside, Unidos says that he will continue
to produce other magazines.

"I feel that zines have a very short amount of time where they are
actually relevant and influential", he says.

With any luck, however, both Unidos and UGZs time of influence have
yet to fully begin.