Massimiliano Adelmo Giorgini

2006-07-27T06:18:00.000-04:00

I am woefully past due on posting new blogs, so I have decided to reprint here an interview I did with Lafayette-area magazine Tipp-C in December of 1995. As the distribution of the free publication is limited to local stores and restaurants, I thought it might of interest to the readers of my blog.

“Meeting of the Masses,”
Interview with Mass Giorgini of Squirtgun by Aaron Colter

Tipp-C: the Lafayette Cities’ Arts, Events and Entertainment Magazine (Vol. 3, 1),
December 7th - January 11th, 2006.

I met Mass for the interview at Village
Coffee Shop. Thankfully, I had already
seen his face at the Squirtgun show about
a week before. Mass Giorgini does not
look like a punk rocker, or even a soft
rocker for that matter. One of Lafayette’s
biggest stars, a man who co-produced an
album with Billie Armstrong, produced
an album for Rise Against, Anti-Flag and
Alkaline Trio, bassist for Common Rider,
Screeching Weasel and Squirtgun, toured
with Jimmy Eat World and Blink-182.
For Christ’s sake people, Squirtgun’s
song “Social” opens Mallrats. Fucking
Mallrats! Maybe I’m too easily won over,
but this man has had more productive
influence on music than that fat slob Axl
Rose. And here he is ordering coffee,
looking like a teaching assistant for
Physics 101. As I found out Mass actually
teaches Italian at Purdue, for fun he says,
and is a graduate student in Spanish.
Incredible. Now at 37, I got to sit down
with Mass and find out what punk rock
does with someone over 22.

What is the first instrument you ever
played?
I started on the sax. And in fact, I played a
lot of sax in Common Rider with Jesse from
Operation Ivy.

When did you first pick up the bass then?
I started playing bass in seventh grade, so I
must have been twelve at the time.

I guess we’ll just dive into it from here.
So, why punk?
I was drawn to punk when I was about
12. I started playing in a punk band by
the age of 15. Remember the island of
misfit toys in that reindeer movie? It was
like that -- an island of misfit kids. Back
then, being punk was definitely not a cool
thing. The punks were the ultimate misfits,
beyond being square pegs in round holes
– we were four-dimensional fractals
trying to live in Flatland. And by “punks,”
I definitely don’t mean that they were
bad kids, but like me, nerdy kids, just…
outcasts. I think that the “misfit island”
of punk was what made me want to be a
part of it. I had felt like an outcast of sorts
from an early age for not understanding
the language – I was raised in Italy my first
several years, and came here not knowing
any English – that was probably enough
on its own to guarantee my getting picked
on or beat up… but add on to that the fact
that my mother had schizophrenia, and all
of a sudden I was the kid with the “crazy
mom.” But in the punk scene, I fit in. At
least in what I call my punk scene – because
for me there were three waves of punk:
the first wave was made up of American
groups like the Ramones, and before them
Iggy and The Stooges or MC5. Real basic,
loud rock -- fast and simple. The second
wave was British, with the Sex Pistols and
The Clash. And this was when, you know,
the politics came in, when the bands first
got involved with social issues. But the
third wave -- that was the most important
to me, that was… no, is my scene. We
kept the politics, and the fast, simple, hard
music. But we also added this sense of anti-commercialism,
community. We cranked
up the dial on our resistance to the status
quo – we brought the Mohawk to the
masses, declared ourselves an alternative
to the mainstream, claimed a different
sense of justice and morality that we felt
exceeded those of the powers-that-be,
and, whether we knew it or not, we were
preaching a form of socialism, within the
scene -- essentially semi-Marxist stuff, as
I see now, in hindsight. Sure, we were to
a large degree deluded, dreamy-eyed kids
that thought we could completely change
the world with our music and ideas, and
our actual effect on the world may not have
been as dramatic as our dreams, but I do
think that we made, and still are making,
a difference. Groups like Black Flag,
Minor Threat, The Dead Kennedys – they
engendered this scene. It was all about
D.I.Y., Do-It-Yourself, you know? And
with it there was the birth of the zine culture
– our own underground, independent press
--- starting with MaximumRockNRoll, and
later with zines like Punk Planet. And then,
of course came the whole concept of “unity”
– which first came to punk from ska via the
Clash, who brought the in word through
Desmond Dekker of Jamaica. “Unity” was
meant to symbolize how a music scene
could improve race relations, and used
the black and white checkerboard as it’s
symbol, to represent the idea of unity with
individuality – the colors are together, but
still distinct. But, even though the notion
started in the “second wave,” it really
came to life in the third wave, in the U.S.,
through Operation Ivy.
I was drawn to these kinds of social issues.
I guess I can add to that the fact that my
parents were not like many other parents,
not W.A.S.P. or conservative, they were
actually rather liberal, and very anti-war.
My father grew up a prisoner of war of the
Allies in Africa during the second World
War, and mother grew up in wartime Italy,
as the Nazis and the U.S. fought each other
on Italian soil – every bombing of a “Nazi
stronghold” was another Italian church
destroyed, every “U.S. Munitions Armory”
blown up was another Italian school. Maybe
that is part of why I like championing the
underdog, why I try to see things from the
side of the oppressed. Anyway, that’s what
punk is supposed to be about – championing
the rights of those whose race, culture,
or beliefs do not reflect the majority.
(Laughing) And, yeah, I admit that you have
to include the “teen angst” factor, too… I
mean, honestly, plain-old youthful rebellion
had something to do with it – just like it did
with early rock’n’roll – but also just like any
it has had to do with any social revolution
throughout history. The rebelliousness
of youth can be powerful. But, it’s also
short-lived, ephemeral. Just how many
thirty-seven year olds go to punk shows?
It’s only a phase of two years for most
people.

Why stay in the scene then?
I love it. And I’ve made it my life to some
degree. But I would have made a living
easier any other way. When people say,
“Oh you must be so lucky.” Well, yeah, I
am lucky, yes. But I’ve worked an average
of over a hundred hours per week for most
of the last 15 years. You do that because
you want to. It’s something you do out of
passion. It’s not about the fashion, which
I love, too -- it’s all kinds of stuff. It’s the
combination of the music and the message.
I still believe it can change the world.

Punk seems to be coming back, it’s “cool”
now. How do you feel about that?
The classic punk reaction to that trend is
that it’s cheapening what we started, or that
the “cool” bands are selling out. I don’t
think it’s that simple. In many ways, it has
made the punk scene more powerful,
therefore more able to affect the changes
that were part of our credo. But, honestly,
like the naysayers, I do miss some things.
Back then, in the punk days of yore, if I
saw a guy with a Mohawk walking down
the street, instantly there was a connection.
Chances were that we listened to the same
bands, thought the same way about wanting
to rid the world of racism, or homophobia,
or sexism. I can’t say that anymore. With
all of the popularity, the message has been
diluted, there’s not enough unity to pass
on any focused message. There’s division
now, which is sad. You know, now that we
have such a wide scene, there really is the
possibility to band together and accomplish
something. But unfortunately, there’s a
tendency to separate. Don’t get me wrong,
I don’t want everything to be the same,
homogenous -- I’m not saying that. But
maybe there’s just one thread to connect all
of us together… we just need to find it.
As a scene, we’ve gotten big and fat.
There’s a lot of in-fighting, weird inner band
back-biting, discord between the subgenres,
and so on. If we’re not careful, punk will
become the same as dinosaur rock. Green
Day still has most of what made them. But
some other bands . . . there’s a bloated
carcass in the music industry now that calls
itself “punk.” It’s no more punk than
PokÉmon. Commercialism creates these
bands with no knowledge of what punk
is. People are looking for another Green
Day. But those guys busted their butts, they
slept on floors, their vans would break down
and they had to find a way to make it to the
next show. They are the real thing. These
new, pre-fab, wanna-be “punky” pop-band
pretty boys -- they can’t rise above stuff
like that. Not without living it, learning it.
…and I’m not saying there’s no hope for
the newest wave of punks. We all can learn,
and change. It’s up to the old guard to talk
about what was special about our cultural
revolution, and not bask in the glory of our
records sales, or gloat over how well we’ve
done compared to what anyone else would
have believed. We must not become what
we hated. Otherwise, all will have been
for naught. The new generation must
pick up the torch and banner, raise their
fists in the air, and fan the flames of the
fire we started. They just need to know
it exists. It’s not as if you can’t learn it,
or become it, if you didn’t live back then.
None of us were “born punk.”

What has changed over the years?
Well, when I first started, locally, it was
almost impossible to hold all-ages shows.
We had to resort to playing parties, which
was not always a good idea. But then in ’85,
’86 there was a huge push to have all-ages
shows, so barriers were broken down. We
got to start having some of the very first
shows at the Morton Center and University
Church.
In ’87 I took all of my college savings,
without telling my dad, and opened my club
called Spud Zero. Many other music fans –
punk or indie rock – would volunteer to help
me run the club, just to keep it open. All of
these great bands were playing right across
the river, two or three shows per week.
Sometimes only ten or twenty people would
show up, but then bands like Naked Raygun,
Dag Nasty, or Material Issue would come
and get two hundred. It worked for a year.
And during that time is when I met most of
the people I know in the music scene now -- the same basic group of people who started labels like Lookout and
Fat Records. It was so much work though.
Sometimes bands like Operation Ivy would
only get thirty people. And they were great!
They went on to sell over a million copies
of the record they were promoting on that
tour… but played to 30 people in Lafayette,
and slept on my floor.
Later, when I closed that club, the group
of kids would help me put on monthly
shows – back at the Morton Center, the
Conservation Club, and places like that. All
of the fans that had gotten used to several
shows per week were hungry for live bands,
so we would get up to 700 hundred people
on some occasions. But overall, locally,
“The Scene,” if you can call it that, was
the biggest back then. All these different
bands played, and everyone supported everyone
else. “Alternative” meant underground back
then, you know, this was before Nirvana or
before MTV cashed in on that name, before
you’d ever hear that word on the radio.
So it included everything, everything you
wouldn’t hear on the radio.
We found power in banding together. But
bands today have that power through
numbers, through the internet. Back then
it was all about calling people who knew
someone, who maybe knew someone that
knew someone else in a band, and we
would try to get them to come down from
places like Chicago to play. It’s so much
easier today. And I don’t understand why
there’s not a bigger scene as a result of that
connection.
Even as for our local scene -- so many great
bands have come from here. But no one
outside of town seems to hear of the bands
that are still here. The funny thing is that a
lot of great, unknown bands have recorded
at Sonic Iguana, that later went on to be very influential bands on an international level. None of them were local – they
came from far away to record here. But even
while they were in town, they did not play
here, because no one was putting on punk
rock shows anymore.
We could be making a huge splash here,
now, with so much cutting-edge music being
done in the area. Huge bands have come
out of here before… Blind Melon, Guns N
Roses -- one of the biggest rock bands of all
time. But those guys left, and didn’t really
come back here. There was no reason for
them to, because when they were here, they
weren’t encouraged. …but I would hardly
want to paint them to be saints, either.
We only need a strong group of, fifty people
or so, regulars… people who come to every
show, and push, beg, or force their friends to
go with them. Movements, at least in the rock
music scene, start with the fans between about
16 and 22 years of age. With a major university of
over 40,000 students, there’s no reason why
this town cannot be a major music scene
on a national level. But there are caveats,
you have to protect the scene too. Don’t
trash the place where there’s a show. Don’t
bring alcohol. If the rules say you can’t,
then don’t. Stay at home and get drunk if
that’s what you’re looking for. Being punk
doesn’t mean throwing bottles, breaking
windows, spitting on random people – that’s
just stupid. If we agree that the music and its
presence is important, we have to be willing
to respect the rules of the people willing to
allow us to put on shows. I know of at least
one place in town, with a perfect location,
that decided to no longer put on shows
because of precisely such problems.
(Laughing) I should have been a preacher.

How was the last Squirtgun show here, in
your opinion?
That was an example of the unity that we
need to see more of. I felt very good about
the number of people that came – about
300, give or take. Sure, I would have
liked to have seen more people. But it was
Thanksgiving Weekend, so I understand.
The kids at the show accepted all the of
acts – I saw punks with Mohawks clapping
and cheering for the Pat McClimans Group
– which is anything but punk. Sure, he
was involved a lot in the old scene, but his
acoustic bluesy set was far from his punk
roots. The fact that at the show people that
were into punk accepted bands outside of
their genre, and that fans of hip-hop, blues,
or country were so accepting of punk bands
is exactly the kind of solidarity that can
build a great scene.
And, of course, playing with Squirtgun…
that line up hasn’t played together for two
and a half years. It has always been like a
little family to us. We’ve toured the world
together, been on MTV, played to stadiums
of over 6,000 people, been in movie
soundtracks – but it really doesn’t get any
better than playing a basement show in your
hometown. Actually, some of the very roots
of Squirtgun, they
go back to that basement at the University
Church. …our first show in that basement
was in ’86. Shows in venues like that one are at the core of the scene that built all of what is DIY punk rock -- whether you speak of Screeching Weasel, NOFX, or Green Day. So it was a little like coming
home, back to the start.
(Laughing) Almost the entire front row
knew all the songs. I couldn’t believe it. I
mean, those kids were eight at the time our
first record came out. Many weren’t even
born yet when we first played that same
stage. Yet, I felt there wasn’t really an age
barrier.
We felt great. Some people thought we were
poppier than they had first thought, others
thought we were edgier. More importantly,
though, as a benefit concert, it was a
success. The graduate student for whom
we had the concert was really moved. She
couldn’t believe that so many people would
get together to help her. She feels like she
has a family here now. By working together
– let’s just say it, through “unity” – we were
able to make a real difference in someone’s
life. That’s a start.

What do you think of some of the new,
local bands?
I really have a limited knowledge of a lot of
the new local bands. But there is definite
potential to have a national music scene
here. Groups like Clayton Miller have
talent, no doubt. Pat McClimas Group, he
has a punk background, yet his new sound
is a blend of country, blues, and rock,
but with a new twist. CounterActive, the
punk-punk band that was at the show… I
heard some people say that they’re nothing
original, just ’77 punk. But the truth is
that they have lots of energy, passion, and
dedication. Besides, there’s nothing really
new in musical genres or sounds anyway. I
could find a cow chip out in a field, hit it
hard with an electric guitar and record it,
and it would possibly, probably be “new”
– but it would sound like… well, we can
all guess what it would sound like. Back
to my point -- a good song done well, with
passion, will rise above any style or genre.
But looking ahead, as a scene we really
need to get people to try to go to every show
possible, just to check it out. If shows are
well-attended, there will be more shows.
More shows means more outside talent
coming to town, and more exposure for
local artists to other styles. Also, we can’t
let the scene fall into infighting between
bands, all wanting to be the “most popular,”
and discouraging people from going to
other bands’ shows. It’s too easy to fall into
rivalries, and that destroys music scenes.
We should take a cue from Operation Ivy,
who took it from the Clash, who took it
from Desmond Dekker… and focus on the
unity of our scene.

2005-12-25T17:18:00.000-05:00

A Hymn to Achievement

The same event of which I wrote in my prior blog entry generated more than just one media article, apparently. In the Summer 1973 issue of the Purdue Alumnus magazine, there appeared an extensive article about astronaut Eugene Cernan’s speech and its subject matter, as well as an additional photograph depicting my presentation to Cernan of a painting by my father.

MASSIMO GIORGINI, son of Prof. Aldo Giorgini, Civil Engineering School, presents an enamel painting to Capt. Cernan. Prof. Giorgini, who painted the large mural in the CE building, also painted the enamel for Cernan. In the background is a member of the Quarterdeck Society, NROTC honorary, and Gloria Peterson, a graduate student.

The caption above, which appeared alongside the photograph in the aforementioned publication makes mention of “the large mural in the CE building” painted by my father. The name of the work was Hymn to Achievement, and was a work done on commission for the Civil Engineering building on the Purdue University campus in order to commemorate the technological advances due to research in academic areas – as witnessed in engineering itself, for instance. The mural was unveiled coincident to one of the speeches by Cernan, entitled “Technology and Man’s Future.” However, far from being a mere glorification of the marvels of scientific breakthroughs, the mural also represented the awesome negative side of this same “progress” by displaying an image of a mushroom cloud, an animal skeleton, and a dying soldier vis-a-vis images representing religion, philosophy, and modern architectural structures.
Although some of the members of the committee that commissioned the work were contrary to the less than laudatory representation of modernization depicted therein, the agreement signed by my father included a provision for artistic license and interpretation, and thus the mural had to be accepted as painted. Furthermore, my father argued that a reminder of the importance of considering both sides of such equations was especially suitable to a speech regarding technology during a memorial conference to two men killed precisely by their interaction with a product of scientific progress.

2005-12-23T11:03:00.000-05:00

Little Man With Man On The Moon

“Little Man With Man On The Moon” was the caption to this photograph, which shows me getting an autograph from Eugene Cernan, commander of the Apollo 17 space mission, and the last astronaut to step on the surface of the moon. The photo appeared on the front page of the April 19, 1973 edition of the Lafayette Leader, and shows me in full dress suit with bowtie, accompanied by my father, immediately following a speech by Cernan at a memorial seminar for Virgil Grissom and Roger Chaffee, two astronauts who died in an Apollo training capsule. The article marks my first appearance in the media following that in the May 23, 1968 edition of the Journal & Courier, which reported my birth the prior day in Home Hospital. My awareness of the inaccuracy of the press began right here in the text accompanying the photo, which states:

Little Massimo Aldogiogine appears a little “moonstruck”

as he patiently waits with his father for an autograph

from Capt. Eugene Cernan, USN, commander of Apollo 17

and the last man to walk on the moon.

Cernan, a 1956 electrical engineering graduate from

Purdue, returned to the campus Friday to speak at the

Grissom-Chaffee Memorial Seminar. Virgil Grissom and

Roger Chaffee, who dies in an Apollo capsule training accident

at Cape Kennedy in January, 1967, were Purdue graduates

as is Neil Armstrong, the first man to set foot on the moon.

(Photo by Jesse McGreevy)

How the reporter managed to rend “Massimo Aldogiogine” from “Massimiliano Adelmo Giorgini” is one of the inexplicable mysteries that led to my choosing to go by “Mass Giorgini” by the time my first album was released many years later.

2005-11-11T08:30:00.000-05:00

My first live performance in over six months: Squirtgun to play a benefit concert
This is one of the longest stretches I have ever gone in my life without playing a live show -- but the cause that is bringing me back onto the stage is a good one: Squirtgun will be doing a one-off show as a benefit to raise money for a Purdue University graduate student (Laura Poggi, of Florence, Italy) whose recent medical difficulties resulted in a $40k-plus medical bill. Severe pain in her stomach area sent her to the emergency room, and what began as a suspected appendicitis turned out to be a much more severe congenital intestinal-colonic defect. Her University-supplied insurance guaranteed her through her role as a Spanish Language TA only covered 80% of the bill, and she was left responsible to cover the shortfall (as well as technically being required to arrange her own teaching substitutions). Fortunately, an outpouring of generosity from staff and teaching assistants within the department was able to fully arrange for alternate instructors for all of the sessions she had to miss. However, she still cannot afford to cover the remaining balance, and her medical complications continue to incur more expense. The members of Squirtgun decided to do the show in an effort to put a dent in the debt.

The line-up so far is as follows: Squirtgun, Jorge Orillac (emo-punk from Panama), 7 Speed Vortex, Color By Numbers (Fort Wayne, IN), Pat McClimans Group, and CounterActive. It will take place at the University Church in West Lafayette, IN (very near the Student Union) on November 19 at 7pm. The cover charge will be a $5 minimum donation, but all showgoers are encouraged to give as much as they can comfortably spare above that amount. The actual workings of the concert are being taken care of by the Purdue Underground Student Concert Committee, and the Purdue Club Italiano will be helping in the promotion of the event. Relating more to the broad topic of pop-punk, this will Squirtgun's first US appearance in two years, and will feature original drummer Dan Lumley for this show only -- since we are playing his hometown. He has no plans to come out of "retirement," so this may well be the only chance to ever see him play (for those not in the know, Lumley has played drums for not only Squirtgun, but also spent 7 years in Screeching Weasel, was the drummer of Common Rider, was the drummer in the final line-up of the Riverdales, and guested on albums or concerts for the Queers, the Lillingtons, the Teen Idols, among others

2005-04-13T20:23:00.000-04:00

A Timeless Allegory, Fitting with a Current Discourse
In a famous scene from Don Quixote, an Inquisition-era priest whose sole role was to be received at the homes of the nobility (essentially living like a king in exchange for not condemning anyone to the rack and screw) passes judgment on the self-made knight errant, telling him to stop wasting his time on nonsensical and fruitless adventures, and to return to his home and take care of his family and affairs.
The Manchegan knight responds, saying that such an undeserved insult from one who has no true experience or knowledge in such matters is undeserving of a vengeful contestation: indeed, it must simply be written off as the babbling of a fool. Don Quixote goes on to say:
“If knights, and the magnificent, the generous, and the highborn considered me an idiot, I would take it as an irreparable affront; but to be thought a fool by the unknowing who have never walked or followed the path of chivalry does not matter to me one iota: a knight I am, and a knight I shall die.” (1)

A tip of the sword to the true knights who have spoken in defense of my honor.

(1) Forgiveness is asked of Miguel de Cervantes Saavedra, whose original, eloquent Spanish I translated as well as possible in the above citation.

2005-03-18T18:07:00.000-05:00

Dante and my Dad

On the eve of what would have been my father’s seventy-first birthday, I went looking for an old encyclopedia – I believe it was in order to determine when the line “Stultorum infinitus est numerus” (“The number of fools is infinite,” Ecclesiastes 1:15) was removed from modern versions of the Bible. Although the aim of my search was not fulfilled, I did run into a dusty, old edition of La Divina Commedia by Dante Alighieri in the original Italian. It was in excellent shape, and contained all of drawings done by Gustav Doré early in the 19th century. My curiosity got the better of me, and I began to turn through the pages. There, inside the front cover, I found a jewel for which I have been searching on and off for over ten years -- a sort of personal “holy grail” for which I had all but given up hope. The find was not in its complete form, but only partial. Nonetheless, it has given me new hope that the possibility exists to find even more.

In 1982, while I was a sophomore in high school, we began to read portions of The Divine Comedy. I recall complaining to my father that it was a very stuffy read, and that even when I could manage to stay alert through several lines, I could rarely decipher clearly enough what exactly was happening. When my father heard that, he reacted in a way that reflected his surprise and simultaneous disappointment – after all, this story-poem had been one of my father’s greatest literary joys, and he even knew entire cantos from it by memory.

He immediately asked how we were reading the text, realizing that there would be no way in which the class could be studying it in the original Italian. When I told him that we were using an English version, he wanted to see the book. After only a few glances, he already felt that much had been lost in the translation. He pulled out the edition which I was to rediscover twenty-three years later, and began comparing the lines.

One thing led to another, and soon enough my father embarked on a search for every English translation of La Divina Commedia that he could find. Although a few more modern ones existed than the classic Henry Wadsworth Longfellow translation we were using in our class, my father still felt that more could be done to preserve the feel of the original. He decided to do his own translation, maintaining the original meter, rhyme scheme, and meaning of the lines.

However, he soon realized that the task was difficult. Later, that it could more aptly described as monumental. Then, eventually, he was struck by the awareness that a perfect translation was impossible. Such difficulties exist in all translations, but are compounded in poetry because of the additional restrictions of meter and rhyme. He slowly began the undertaking, eventually completing “over 80%” of the Inferno, according to my last memory of discussing the subject with him – I must admit that I was not nearly as interested in the topic at the time as I am now. Regardless, during my father’s entire bout with glioblastoma multiforme, an incurable form of cerebral cancer, it never occurred to me to ask where he kept his notes and drafts of this work. Only in the months following his eventual demise did I recollect the project he had begun. So, when on March 14 I found two sheets of paper – 73 lines in all – of the translation my father had been doing, I was ecstatic. Looking over it, I believe that it holds up well to the other translations of those same lines that I have found, and in most cases feels even better – possibly because the meter is exactly matched.

These elements of meter and rhyme are an interesting quality of the poem. It is widely assumed that Dante Alighieri invented this form, called Terza Rima, precisely for use in The Divine Comedy. The entire work is divided into numbers of sections that have arithmetical and symbolic significance. The numbers of books, cantos, levels, and rings were all specifically chosen by Dante to fit a specific emblematic plan. Part of this scheme involves the iambic meter (eleven syllabic beats) of each line, and the fact that each tercet (three-line stanza) of the poem fits into a larger scheme of aba, bcb, cdc, ded, efe, and so on.

All of these technicalities aside, Dante’s masterpiece is full of beautiful imagery, storytelling, and is rich with metaphors and symbolism. It is a work that was powerfully critical of the contemporary politics of Italy at that time. Further, it was simultaneously pious with its treatment of the Catholic faith while being incendiary in its criticism of the secular concerns of the papacy. In fact, although Dante is still considered one of the most famous Florentines of all time, he was never able to return to Florence again after the publication of this work due to a death sentence issued against him by political opponents he had derided in his poem.

What follows are several sets of the same two tercets: first, the original lines by Dante, and then several different translations of the lines into English. Most are in poetic stanzas, although several have discarded the meter and rhyme. A few are in prose form, having abandoned the poetic form altogether. The lines come from the fifth canto of the Inferno, which is the first book of the Divine Comedy. At this point in the narration, Dante and his poet guide, Virgil, are walking through the Second Circle of Hell, where the Lustful are punished. The sinful souls are being blown about eternally in a perpetual wind, flying through the air in a sort of tornado. Among these damned spirits are famous historical and political figures, including some knights and their ladies.

In keeping with the spirit of all of these translations, I decided to do a version of these six lines myself, keeping the meter, rhyme, and meaning of the original as faithfully as possible. I must admit that the task is enormously difficult, and that if I were to spend an equal amount of time on each of all the lines of the work, I would never finish the translation before my own arrival at either Inferno, Purgatario, or Paradiso.

Inferno
Volume I of La Divina Commedia
by Dante Alighieri
Lines 70-75 of Canto V

Dante Alighieri’s original lines (1314)

Poscia ch’io ebbi ‘l mio dottore udito
nomar le donne antiche e’ cavalieri
pietà mi giunse, e fui quasi smarrito

I’ cominciai: “Poeta, volentieri
parlerei a quei due che ‘nsieme vanno
a paion sì al vento esser leggeri.”

Henry Boyd’s translation (1785)

And still each coming ghost the poet nam’d.
To see this wreck of souls my heart recoil’d.
At length, “ O call that pair, thou spirit mild,

That skims so light before the blast untam’d !
“ Soon may’st thou know,” he cry’d, “ the tide of air
Brings to our lofty stand the hapless pair ;

Henry F. Cary’s translation (1805)

When I had heard my sage instructor name
Those dames and knights of antique days, o’erpower’d
By pity, well-nigh in amaze my mind

Was lost; and I began: “Bard! willingly
I would address those two together coming,
Which seem so light before the wind.”

Henry Wadsworth Longfellow’s translation (1867)

After that I had listened to my Teacher
Naming the dames of eld and cavaliers,
Pity prevailed, and I was nigh bewildered

And I began: “O Poet, willingly
Speak would I to those two, who go together,
And seem upon the wind to be so light.”

S. Fowler Wright’s translation (1928)

He pointed as they passed, until my mind Was wildered in this heavy pass to find Ladies so many, and cavaliers and kings Fallen, and pitying past restraint, I said, "Poet, those next that on the wind appear So light, and constant as they drive or veer Are parted never, I fain would speak."

John Ciardi’s translation (1954)

I stood there while my Teacher one by one

named the great knights and ladies of dim time;

and I was swept by pity and confusion.

At last I spoke: "Poet, I should be glad

to speak a word with those two swept together

so lightly on the wind and still so sad."

Allen Mandelbaum’s translation (1980)

No sooner had I heard my teacher name

the ancient ladies and the knights,

than pity seized me, and I was like a man astray.

My first words: "Poet, I should willingly

speak with those two who go together there

and seem so lightly carried by the wind."

Aldo Giorgini’s translation (1982)
(the whereabouts of only 73 lines of this translation are currently known)

As soon as I had listened to my teacher
naming the ancient knights and their fair ladies
I was swept by compassion and confusion

At last I spoke: “My guide, I would desire
to speak a word with those two swept together
so lightly on the wind that lasts forever.”

Charles Eliot Norton’s translation (1985)

After I had heard my Teacher name

the dames of eld and the cavaliers,

pity overcame me, and I was well nigh bewildered.

I began, "Poet, willingly would I speak

with those two that go together,

and seem to be so light upon the wind."

Robert Pinsky’s translation (1994)

When I had heard my teacher tell the rolls

Of knights and ladies of antiquity,

Pity overwhelmed me. Half-lost in its coils,

"Poet," I told him, "I would willingly

Speak with those two who move along together,

And seem so light upon the wind." And he:

Mark Musa’s translation (1995)

After I heard my teacher call the names
of all these knights and ladies of ancient times,
pity confused my senses, and I was dazed.

I began: “Poet, I would like, with all my heart,
to speak to those two there who move together,
and seem to be so light upon the winds.”

Robert M. Durling’s translation (1996)

After I heard my teacher name the ancient
ladies and knights, pity came upon me, and I was
almost lost.
I began: “Poet, gladly would I speak with those
two who go together and seem to be so light upon
the wind.”

James Finn Cotter’s translation (2000)

After I had listened to my instructor
Name the knights and ladies of the past,
Pity gripped me, and I lost my bearing.

I began, "Poet, I would most willingly
Address those two who pass together there
And appear to be so light upon the wind,"

Anthony S. Kline’s translation (2004)

After I had heard my teacher name
the ancient knights and ladies, pity overcame me,
and I was as if dazed.

I began: ‘Poet, I would speak, willingly,
to those two who go together,
and seem so light upon the wind.’

Massimiliano Giorgini's translation (2005)
(only these 6 lines were translated)

Then after having listened to my mentor
mention the ancient knights and their fair ladies
pity took hold, I fell into a stupor

I began to speak: “Poet, I would be pleased
to converse with those two who fly together
and appear to float so lightly in the breeze.”

2005-02-09T14:14:00.000-05:00

Current Mastering Project:
Howard Zinn Spoken Word split EP with punk band Resident Genius

Historian Howard Zinn is undoubtedly celebrated in his own academic discipline, having taught at Harvard University, the University of Paris, the University of Bologna, Spellman College, and Boston University in addition to having earned his Ph.D. from Columbia University. Indeed, his best-known book, A People's History of the United States: 1492 to the Present is an oft-quoted text within both popular culture magazines and academic journals. This book is unique among history books in that its entire focus is to present the historical events described in its title from the perspective of the defeated in each conflict – thus turning the tables on the idiom “history is written by the winners.”

The popular success of A People’s History led directly to Zinn being widely held within liberal circles as a sort of “Champion of the Underdog.” Zinn has taken that title and made a second career with it, writing several books, articles, and even plays that expanded his role from Professor of History into recognition as a political theorist and outspoken social activist. His working-class upbringing and years of military service during the second world war have given his writings a common-sense approach far removed from the stereotypes of grandiloquent intellectualism that conservatives typically ascribe to liberal thinkers.

I have been fortunate enough to have been asked to master an upcoming release that will feature spoken-word audio recordings of Howard Zinn along with songs from punk band Resident Genius, an act known for its involvement in activism and lyrics dealing with socio-political issues. The release is to be issued in CD-EP form later this year by Thick Records.

2004-11-01T03:02:00.000-05:00

ANTI-FLAG in front of Unites States Congress

My involvement with the band Anti-Flag spans several years. We first met briefly in 1995 in Denver, Colorado when I was on tour with Squirtgun when we played a show together at a club called The Raven. But starting in the year 2000, our relationship expanded considerably.

Anti-Flag came to Sonic Iguana Studios, where we recorded their landmark album, Underground Network. Later, I also mastered their half-live, half-studio album, Mobilize, which featured their song “9-1-1 for Peace,” written and recorded on September 11, 2001. Over the subsequent years, I produced Justin Sane’s solo album, and did vocal tracking work and mastering on their most recent album, The Terror State.

My memories of Anti-Flag have been especially vivid lately, since four years ago, on election night of the fateful Gore vs. Bush showdown, I was in the studio producing an Anti-Flag album that was later named Underground Network. We all watched in shock as the results came in and the various news channels disagreed on the winner – the shock being equally divided between how ambiguous the election counts actually seemed, and the reality of having to face the frightening prospect at least four years with George W. Bush as president.

Since that time, Anti-Flag has continued to grow in popularity and in influence, and the focus of their political voice has only become stronger along with their increased reach. In the last two years, Anti-Flag has become very involved in Punkvoter.org and the associated Rock Against Bush compilations and tours. Most recently, lead singer and principal songwriter Justin Sane has even shared the stage with Michael Moore, and drummer and organizing force Pat Thetic made a live television appearance alongside Gloria Steinem.

The latest step in their growing political influence is a significant one: not only are they helping shape the opinions of fans of their brand of punk rock, or even gaining notice of other outspoken figures of the mainstream left, but they are even gaining the attention of lawmakers themselves. Earlier this month, United States Congressman Jim McDermott of Washington State talked about Anti-Flag and their political influence and awareness before the House of Representatives. The following is a transcript of his speech, and here is a link to a video clip of the speech. (as quoted from U.S. Congressman Jim McDermott's speech to the House of representatives on October 8, 2004)

Mr. Speaker, I want to introduce you to four young men. Justin Sane, Chris Head, Chris Two, and Pat Thetic. They are a major punk band called Anti-Flag.
Don't let the stage name fool you. These kids care about their country.
For over a month they have been touring America and singing to kids involved in this election. Yeah, they have mohawks and rings, but in the 1960's we were considered radical because of long hair and beads and we changed this country and these kids will, too.
They are straight-edged punk, no drugs, no alcohol, just kids from Pittsburgh with interesting colored hairdos and a great message for young people. Register and vote or be told what to do where to go and fight for an administration that will not talk straight to the American people.
To their parents I say, be proud. They're smart kids. I ought to know, I'm a child psychiatrist. Don't worry about the hair, it will all change. To the country all I can say is, kids are listening and change is coming because voting is going to be the in thing in 2004. Mr. Bush, your days are numbered.

2004-10-26T14:54:00.000-04:00

Column and Interview in PUNK Magazine (Italy)

In late July, the first issue of the Italian music zine titled PUNK Magazine to feature a column and interview I wrote finally appeared on Italian newsstands. The column is a piece about the ever-changing nature of punk rock as a music form, and how that relates to the original definitions, and compares to what is currently called “punk” by the mainstream entertainment media. In the column, I discuss the original sociopolitical content of some of the punk pioneers, and compare that to the current trend of combining politics with punk music.

Also discussed in the column are a few bands I have worked with over the last year, including Scarred Hope, a punk band with a strong reggae influence, and healthy dose of inspiration from bands like the Clash and Operation Ivy. Scarred Hope hail from Redcliffe, Queensland in Australia (hometown of the BeeGees), and come from working-class backgrounds that add fuel to their vitriolic lyrics about racial, class, and religious discrimination. I had the opportunity to produce their upcoming album, Blue Collar Suicide, in Foxhole Studios in Brisbane, Australia last October, and brought the tracks back home to Sonic Iguana Studios for editing, mixing, and mastering.

Another band I discussed in the column was Los Pepiniyoz, a band from Puerto Rico that traveled to Lafayette to record their new album with me at Sonic Iguana. Their music is largely inspired by the early pioneers of pop-punk, like the Ramones and the Dickies. Their lyrics are entirely in Spanish, and they sing about the dreams and hopes of their fellow islanders, as well as about growing up punk in Borinquen. Their album is now complete, and they are currently searching for a US label to release it stateside.

In the same issue of PUNK Magazine, the first part of an interview I did with Lookout Records founder Lawrence Livermore appears alongside several photos from the early days of the label. In the interview, Livermore answers questions about, and provides insight, into the explosion of the pop-punk music scene in the early nineties, and way that the increased popularity changed the scene itself. The specific points covered range from his early relationship with Operation Ivy, his involvement from the earliest days of Green Day, to his eventual decision to leave the label entirely. Part two of the same interview will appear in the subsequent issue of PUNK Magazine.

2004-10-25T09:09:00.000-04:00

Update Long Overdue...

It has been just over two months since I last updated this blog. This has been the result of too much going on, rather than too little.

The experience in the position of Lecturer in Foreign Languages & Literature has been very rewarding so far, despite the massive amount of preparation it requires. Teaching has turned out to be a real pleasure for me, and in practice seems to have many parallels to music production. Helping a student learn a language, and work to improve pronunciation and sentence construction is not entirely different than working with musicians to get the best take, refining pitch and timing with successive performances.

My course assignments changed somewhat just after my prior posts, and I am actually teaching Italian 101 and Italian 105, rather than two courses of ITAL 101. The 105 course also starts from the very beginning of the language basics, but moves at an accelerated pace, covering the contents of both Italian 101 and 102 in just one semester. The course is intended for individuals who have already had some exposure to the Italian language, or who have studied one of the other Romance languages, such as Spanish, Portuguese, French, or Romanian.

In the studio, I have been working on a slew of projects, many that I began working on several months ago (including one project begun in 2001) and are just winding to completion.

The National Trust album is fully recorded, and largely edited and compiled. Kris Roe and I are in the process of scheduling a mix date at this time.

Lights Out, an excellent band from Atlanta that draws influence from a variety of source as diverse as the Living End and the Steve Miller Band, came up and recorded at Sonic Iguana Studios in August. They will be coming back up to finish a few vocal tracks and mix with me in the coming weeks.

I am in the final stages of mixdown for the upcoming Horace Pinker album, many tracks of which were initially recorded in 2001. One EP, titled “Red-Eyed Regular,” from the first session was released in March of 2003. A few new songs were added to the batch this summer, as well as some new vocal parts being layered onto the original tracks.

In addition, I have continued to write columns and conduct interviews for PUNK Magazine and ROCK SOUND Magazine, both based in Italy.

As a musician, long-time friend and colleague Ben Foster (a.k.a. Ben Weasel) and I have formed a new band with keyboardist Jenny Choi, drummer Philip Stone, and guitarist Pat McLimans. So far, we have done only one full rehearsal, and a few other meetings of parts of the group. Ben is the singer/songwriter of this project, and has already written several new songs for the band. The intent is a serious, performing unit with the possibility of short tours in the future, although there are no specific plans at this time. At this time, Ben is very occupied with the details of the re-release of several Screeching Weasel records, and we have not been able to fully organize and prepare as we would like.

More updates soon…

2004-08-20T09:02:00.000-04:00

Luis Alberto Urrea Interview

In February of 2004, I interviewed celebrated author Luis Alberto Urrea at his home about a variety of topics pertaining to his books, his experiences growing up in Tijuana, and his views on the current political and human situation on the U.S.-Mexican border.

Urrea is a powerful and talented writer, and also a passionate defender of human rights. His books of fiction, nonfiction, and poetry have all won prestigious awards and honors, including the American Book Award, Foreward Magazine Book of the Year Award, the New York Times Notable Book Award, inclusion in the Best American Poetry collection, and inclusion on the Los Angeles Times Bestseller List.

By the end of our chat, we had logged almost an hour and a half -- and over 10,000 words -- of interview time.

Roughly one-fifth of the content of this interview appears in the latest issue of Punk Planet magazine(Issue #63), available now in independent book stores(as well as Borders Books and Barnes & Noble)and online through Interpunk.com.

My plans for the complete interview are to include it in a compendium of interviews I am putting together for a book on the relationship between the arts and socio-political change.

**NOTE - in the printed version of the interview that appears in Punk Planet, the city of Tijuana is misspelled as "Tiajuana." My original draft of the interview had the proper spelling, but was later "corrected" by one of the editors of the magazine before going into the final edition.

2004-08-10T10:36:00.000-04:00

One Italian Class? Make That Two!

As it turns out, enrollment in Italian 101 is higher than expected for the Fall Semester at Purdue University. High enough, in fact, that they are adding an extra division of the class.

As this will be my first semester teaching, I was a bit nervous about taking on two classes at once. However, as the second class will simply be adding on a second division of the same class, the preparation work will be the same for both classes. That means I get "two takes" to teach it right, in studio parlance!

Here is a link to the Course Description from the Purdue University site. From that page, there is a link to class schedules. As my course is the introductory course to Italian, there is no prerequisite course requirement, and no prior experience in Italian is necessary. Of the five divisions of Italian 101 being offered, I will be teaching Divisions 01 and 02. Any Lafayette-based people interested in taking the course can feel free to e-mail me at massg@aol.com.

2004-07-30T10:11:00.000-04:00

Previously Unreleased Common Rider

Last week, I had to make an emergency run to Target to get some extra CD-R's for reference discs. While heading to the computer supplies aisle, I noticed some new discs on the "Launch Breakout Artists" stand by the music department. I had already become less surprised to see releases there by bands I know through touring or recording, but until this particular visit, I had never seen anything I had actually played on at Target (ok, with the exception of the Squirtgun song on the Mallrats soundtrack).

But, when I saw a new Hopeless Records sampler, titled Hopelessly Devoted To You, Volume 5, I decided to take a closer look. I knew that sometime this fall the 4 remaining unreleased Common Rider songs that were cut from the 2002 album This is Unity Music were due to be released either as a CD-EP, or as a split release with the band Against All Authority. But, I wasn't aware that one of those songs would appear first on a label sampler compilation.

Regardless, I am happy to know that the song, "Where the Waves are Highest," is finally in distribution and available for listeners. This is my personal favorite of the four "unheard" Common Rider songs, and was even one of my overall favorites of the entire Unity Music album.

An added bonus is that the entire sampler lists for under $4...

I have no more specific information at this time for the forthcoming Common Rider release, but will post it here as soon as I know something tangible.

2004-07-26T09:46:00.000-04:00

Mi Poesía

Over the last several years, I have studied the Spanish language on my own, using an informal and mixed batch of methods. I have purchased a few lesson books, verb usage lessons, Spanish/English dictionaries, Audio CD lesson plans (including the 48-disc set by Pimsleur Language Learning Labs), a variety of Spanish-language magazines, viewed countless Spanish-language films, read some of my favorite authors in their native tongue (including Gabriel García Márquez, Julio Cortázar, and Jorge Luis Borges), attended Spanish Conversation Nights at the Latino Cultural Center of Purdue University, read some Parallel Text Spanish/English books, visited Honduras, Costa Rica, Puerto Rico, and Spain, and even made a few quick border visits to Tijuana and Ciudad Juarez in Mexico. Admittedly, the fact that Italian was my first language, in addition to my four years of study of the French language, has aided more than a little to my learning of Spanish (though I am still quite far from fluency).

However, my first real attempt to study the language was through a class offered by the Cervantes Spanish School, taught by school co-founder Claudia B. E. Guerín, Ph.D., and held at the Morton Community Center of West Lafayette, Indiana. In the class, Guerín not only discussed the very necessary rules of grammar and verb conjugation, but also encouraged us to read and interpret poetry in Spanish by major Spanish-language poets.

During this same period, I had been absorbed in reading about and listening to Chilean singer-songwriter Victor Jara. He was a politically outspoken supporter (along with famed Chilean poet Pablo Neruda) of the Popular Unity Party, and had been active in the campaign that had successfully placed President Allende in office. Unfortunately, when the military coup led by Augusto Pinochet (covertly backed by the C.I.A.) overthrew Allende and the Popular Unity Party on September 11, 1973, many of his most vocal supporters, including Victor Jara, were rounded up for "questioning."

Victor was taken to the Santiago Boxing Stadium, where he had previously held several sold-out concerts, and was tortured by electrocution and beatings while playing his guitar and singing his songs of support for Allende. Even after the torturers broke both his wrists, he continued to perform his music. After four days of continued abuses, Jara was finally taken down by a rain of bullets from automatic weapons fired by Pinochet's henchmen.

The combination of the poetry I was reading in class (by Alfonsina Storni, Pablo Neruda, and many more) and the tragic story of Victor Jara -- which is largely unknown to most Americans, and perhaps more ironically, to most political punk fans -- led me to write a poem about how his story affected me. I decided to write it in Spanish, since so much of the reading I had done about Jara, as well as the poetry I had been reading, was in Spanish.

I owe thanks to several native Spanish-speaking friends and acquaintances who helped review my poem to be sure that it communicated what I had intended, and for their words of encouragement in its completion. To Claudia Guerín, Marcelo Carignano, Zuania Colón, Monica Sanchez, and Alma Armenta: my sincerest appreciation for your time and efforts.

Esta Llama

by Massimiliano Adelmo Giorgini

Esta llama

Parpadea como las palabras se forman

Cambiando las figuras, cambiando el sentido

Su llama

Brilla luciente y fuerte

Permaneciendo clara, persistiendo sóla

Esta llama

Que me incita

Tratando de honrarle, tratando de continuar

Su llama

Me empuja a llevarle

Despertando su memoria, entrando en nuevas almas

Aún sin manos lleva la antorcha

Con más gracia y poesía que jamás pudiera

con nueve bueyes y once caballos que me ayuden

Salvador

Usted habría necesitado un salvador

Con seis cuerdas y una cesta de madera

Sin martillo le construyo un monumento

Con una campana, lo llamo una canción

Esta llama

Farfulla bajo pesados alientos

Sofocandola a pesar de mis mejores intenciones

Su llama

Quema intensamente con el combustible de la justicia

Y la leña menuda de brujas y Santos

Esta llama

Podría ahogarse bajo una lágrima

Hundiendose mientras le tiro una cuerda salvavida

Su llama -- llamemosla fuego

Flota todavía en un océano de sangre inocente

Resplandeciendo como una estrella en la noche

Que grita más fuerte que el sol del mediodía

Esta llama

Aclara apenas esta página.

2004-07-19T09:59:00.000-04:00

Rattail Then and Now

In November 1984, I got together for a "jam" with Dan Lumley, Steve Best, and my brother Flav Giorgini. Over the course of the next several weeks, the combo eventually became Rattail Grenadier, which continued until 1994. There were several line-ups of the band, which at various points included Rick Harris, Quentin Flory, and Kevin Aubey, as well as a bevy of fill-in guests who took over at times when "official members" could not make it to certain shows (one these shows, in Kalamazoo, MI in 1988, featured Matt Hart in the vocalist spot -- the same line-up which eventually became Squirtgun, and was still active as recently as 2003's Fade to Bright album).

On the Fourth of July weekend a couple of weeks ago, Dan Lumley ran into Steve Best. Steve, who currently lives in Wisconsin, was in town visiting family for the holiday. Coincidentally, Flav, who now lives in Seattle, was in town working on a solo album (which I am producing at Sonic Iguana Studios). We took advantage of the situation to meet for lunch, and to re-create a photo that we had used as a promo poster for our early tours.

Flav sent the new photo to Kevin Neireiter, who not only has done most of the artwork for Squirtgun, but also did much of the artwork and design for Rattail Grenadier. Kevin used his prolific skills to make the shadows, background, and logo match those of the original poster shot.

Above; Trying to look "tough" -- Rattail Grenadier in a 1986 poster (left to right: Flav Giorgini, Steve Best, Mass Giorgini, Dan Lumley)

Rattail Grenadier in July 2004, still failing to look "tough."

Rattail Grenadier released four full-lengths during its ten-year span. The first, Three Blind (1986), was a self-issued cassette-only release that we recorded as a three-piece, with Dan Lumley on drums, Flav Giorgini on guitar and vocals, and myself on bass guitar and vocals.

Our second full-length was also a cassette-only self-release entitled Copy (1987), which featured the line-up in the above "poster" shot. The two cassette releases were primarily distributed in the tiny Midwestern punk scene of the time, and sold about 400-500 copies each.

In 1988, after a couple of years touring and playing with nationally-recognized punk bands, such as Naked Raygun, Dag Nasty, Toxic Reasons, the Zero Boys, and others, we signed with a new Chicago-based label called Roadkill Records. Roadkill Records was formed after I introduced my friends Ben Weasel and John Jughead of Screeching Weasel to Rattail Grenadier singer Steve Best's older brother Dave at a Screeching Weasel show at Durty Nellie's Pub in Palatine, IL on May 22, 1987. The general idea was that Dave would provide the funding, and that Ben and John would run the label, with signing decisions being mutual.

The first three releases were issued simultaneously in late 1988, and included full-lengths by Screeching Weasel (the original release of BoogadaBoogadaBoogada) and Rattail Grenadier and an E.P. by the Bhopal Stiffs. The Rattail Grenadier album was self-titled, and was released on vinyl LP and cassette. The album was produced by Paul Mahern (producer of Iggy Pop, John Mellencamp, and the Blake Babies) and featured a guest appearance by Vess Ruhtenberg of the Zero Boys. This release was much more widely distributed, and went into a repress of both editions. Approximate sales were 2500-3000 in total.

By the time Rattail Grenadier was ready for a fourth full-length, Roadkill Records had folded, after releasing many more releases by bands such as the Effigies, Sludgeworth, Sloppy Seconds, and No Empathy, to name a few. So, we signed to an Italian label called Helter Skelter, that was also a well-known distributor of punk albums in that country, and also signed a distribution deal with Rotz Records in the United States for our next release, Too Much of a Good Thing (1991). On this album, our line-up had changed, now featuring Rick Harris on lead vocals in the place of Steve Best. The album also featured guest appearances by Matt Marz of the Disease (who also appears on the latest Squirtgun disc) and Bruce Stuckey of Toxic Reasons (note: Too Much of a Good Thing is the first released and distributed album I ever produced and engineered).

In 1992, Rick Harris moved to Berkeley, CA to start a Ph.D. program in Molecular Biology. He was replaced by Quentin Flory, who had previously been a member of New Jersey's P.E.D., which had released a full-length on New Red Archives Records in 1989. He had also been friends and jammed with early incarnations of the Bouncing Souls. We started work on a fifth album, which was never released. This album marked a move towards a more melodic, but minor key, sound, somewhat reminiscent of Bad Religion. One track of this intended fifth album was "Come On Back," written by Quentin Flory, which was featured on the PUNK USA compilation on Lookout Records (1994). This remains the only Rattail Grenadier song currently in print. The former members of the band have discussed the possibility of releasing a compilation of highlight songs from throughout the band's history, but no formal plan exists at this time.

In 1994, while our father was ill with brain cancer, Flav and I put the band on hold. By the time of his eventual passing, we decided to start a new band with a more upbeat and positive image, most certainly as a result of the sad events of the year. Rattail Grenadier ended, and Squirtgun was born.

2004-07-02T11:13:00.000-04:00

Giulia's Dance Recital

(Above, Giulia is the second from the right)

In mid-May, I made a five-day jaunt to Italy, in order to clear some items from my father's former apartment in Voghera, and to visit family there. During my short visit, I had the opportunity to see my 12-yr-old second cousin, Giulia Cigagna, perform in a dance recital by the Centro Studi Danza di Voghera.

(Below, Giulia is on the right)
The recital was part of the 622nd annual "Fiera dell'Ascenscione," which serves as the city of Voghera's annual festival, and was held at the city's historic Caserma di Cavalleria (the courtyard of the former barracks of the cavalry). Giulia and her classmates performed brilliantly, and impressed me with the skills that they have developed in their years of dance training.
Although the task of preparing my father's apartment for sale was one that filled me with melancholy, Giulia's recital served as one of the highpoints that helped to make the trip enjoyable.

2004-06-16T08:55:00.000-04:00

The National Trust and the Ataris/Squirtgun Connection

Wow. My last post brought me more e-mail than I could possibly respond to on an individual level. Therefore, I will do my best to answer many of the questions in this post.

First off, The National Trust have not yet recorded, which logically means that there exist no MP3s of their upcoming album. Yes, they are at essence a re-incarnation and extension of a band called F.O.N., but it is not the same F.O.N. that has released several CDs in the punk scene of the last five years.

Yes, The National Trust did perform the song "Social" live on the night I saw them. The song was written by Matt Hart, and originally performed by F.O.N. in the early 1990's, not long before the band dissolved. The band never actually released the song, however, so Matt brought it to Squirtgun when we first formed the band in 1993. It went on to become the opening song to the 1995 Kevin Smith film Mallrats, which also featured early performances by actors including Ben Affleck, Matt Damon, and Claire Forlani. "Social" was also featured on our debut CD on Lookout Records, Squirtgun. However, because Matt Hart sung the Squirtgun version of the song, while Giles Davies sings the National Trust version, I believe that an immediate and obvious difference in the versions is notable. I do not know whether or not the National Trust intends to record a version,or simply to play it live.

Yes, Kris Roe did appear on the most recent Squirtgun CD, Fade to Bright, as a guest vocalist, singing along with Squirtgun singer Matt Hart. He appeared on the song "Burn for You," for which we also made a video that included an appearance by Kris Roe (this video was getting heavy rotation on the 120 Minutes program of MTV Latino America last month). However, I do not feel that this song is representative of the National Trust in sound or in songwriting (maybe partly because I wrote "Burn for You," and I am not a member of the National Trust?).

Finally, I received a number of e-mails either stating that I was lying about Kris Roe's involvement in the National Trust, or asking if he was a member. As one can clearly see in the photographs that accompany the previous post, he did perform as a member on their debut night. Further, he has co-written a few new songs with the band, and is planning to both continue to perform with them live, as well as to play on their upcoming album.

2004-06-14T17:29:00.000-04:00

On Monday, June 7, I attended the debut concert of a new band I will be co-producing later this summer. Then again, it was also the reunion show of a long-defunct band that I originally produced back in 1992.

The current band is called The National Trust, and is composed of Giles Davies, Matt Hart (also the singer of Squirtgun), Kris Roe (lead singer/guitarist of the Ataris), Eric Appleby, and Pete Janidlo. The original impetus for the formation (or re-formation) of this band was Kris Roe, who as a teenager was a huge fan of the band F.O.N. (which included Matt, Giles, and Pete from the National Trust). Although F.O.N. had a loyal and sizeable following in the Muncie, IN area during the late 80’s and early 90’s, they were largely unknown outside of their home base. The initial intent was simply to encourage them to re-form, then record and document their original songs, and finally to release and distribute their music in order to expose the band to a wider audience.

However, once Kris had managed to convince the members to re-form the band, a huge problem became evident: Kris was the only person who actually remembered many of the songs. After a long stretch of rehearsal time was spent with Kris teaching the former members their own songs, they invited him tojoin the band as a guitarist and backing vocalist. After a few rehearsals, all members wanted to go further than simply re-hash the decade-old material, and began to write a few new tunes to go along with the older songs. Eventually, it became evident that the result was something different than the original F.O.N. – even though many of the old songs remained. They decided to adopt a new name, the National Trust.

Although the band includes Matt Hart and Kris Roe, who are both known for their brands of pop-oriented punk rock, the National Trust is something much noisier and more raucous. Certainly, some incredibly catchy pop hooks are present, but the songs are also rife with unpredictable break-downs, tempo changes, dissonant guitar intrusions, and occasional screams that seem to invade from the skies. Live, the band was energetic and powerful – even though certainly much rawer than either Squirtgun or the Ataris. Regardless, both Kris and Matt gave great performances, using their lead singing experience to provide strong backing vocals, as well as giving the band some very skillful guitar playing. Lead singer Giles Davies fronted the band with an intensity and focus that certainly betrayed his last decade in theater. Pete Janidlo returned from several years of virtual retirement to play a show that proved he is still one of the best drummers I have ever seen in punk rock. Eric Appleby, who originally played bass in another band that included Matt Hart,Clifford Nevernew, played a nearly flawless set, and fit in with the band like the missing piece of the puzzle. They put on a great show, and left me proud to be involved with the upcoming project.

The National Trust will be supporting the Ataris for a few dates later this month, after which they will begin preparing for the recording of their upcoming album.

2004-06-09T11:36:00.000-04:00

The Incomparable Jenny Choi

A few weeks ago, I had the great privilege of working with the lovely and winsome Jenny Choi, who came to Sonic Iguana to perform a pair of cello parts and a keyboard part as a guest on the upcoming Even In Blackouts album. Jenny is best known as a singer-songwriter fronting her own bands, including Jenny Choi and the Third Shift and Sanawon.

Beyond her musical accomplishments, Jenny is also a teacher of English Literature in a Chicago high school. Not too surprisingly, our banter outside of the specific musical project tended to focus quite heavily on our favorite authors and books. As it turns out, we found out we loved many of the same books, as well as sharing many favorite films. During our talk, Jenny so passionately extolled Interpreter of Maladies, a collection of short stories by Jhumpa Lahiri, that I ordered it from Amazon.com the same day. Although so far I have only read three of the stories, I must admit that I am inclined to agree with her praise of the book.

In addition to the aforementioned prodigious talents and good qualities, Jenny is also the primary force behind Ona PR and the Asians in Rock (AIR) Tour. Jenny set up Ona PR in order to promote, in her own words, "awareness in a sociopolitical context for the national Asian arts community." With a like-minded goal, The annual AIR Tour was conceived in order to simultaneously entertain and enlighten by smashing stereotypes associated with Asian-Americans. The AIR Tour began in 2003, and this year will feature Sanawon and Mike Park (the founder of the Plea for Peace organization, Asian Man Records, and another of my great friends). The tour kicks off in Chicago on May 12 at the Fireside Bowl, and will hit both coasts in the course of its frantic 17-day schedule. I highly recommend checking out the tour when it comes to your part of the country!

2004-06-02T18:20:00.000-04:00

R.I.P. Kermit the Iguana
(March 1991-May 2004)

Kermit, the green iguana namesake of Sonic Iguana Studios, passed away due to complications of old age a few days ago. Kermit was imported into the United States from a hatchery in El Salvador shortly after her birth in 1991. After moving to Lafayette, she took her position in the Giorgini home, where she resided until her recent demise.

Kermit survived many near-death experiences in her life, some due to illness, others due to accident or mistaken identity. She survived two bouts with mouth rot, a frequently fatal herpetological disease. She also narrowly avoided electrocution when she climbed into the crankcase of a ceiling fan. Perhaps most embarassing, Kermit was assumed to be male until nearly succumbing to being severely egg-bound. At that time, it was verified that rather than being "pleasantly plump," she was holding several unfertilized eggs which she was unable to safely lay and bury. After a dramatic hysterectomy, she had to be tube-fed for several weeks until she could regain sufficient strength to feed herself.

At one point, Jessie Snaza arrived home to find that Kermit had escaped from her housing, and had somehow managed to get into the mandibular clutches of Daysi. Daysi was growling at Desmond while holding onto Kermit, and seemed to be protecting the iguana from her adoptive brother. Regardless, both iguana and pit bull escaped unharmed from their interaction, and from that point on Daysi always protectively guarded Kermit's home from Desmond's attempt incursions.

Kermit -- the lizard and the legend -- will be missed by the Sonic Iguana crew, and will certainly always be fondly remembered.

2004-05-31T12:08:00.000-04:00

>The Tornado

Yesterday evening, on a dinner break from mixing the new Methadones album, I went to a small dinner party at the home of Kate Agena, a friend of mine who is working on a PhD in Rhetoric and Composition at Purdue University. Within a matter of a few minutes, the severe storm that had been raging outside most of the afternoon took a turn for the worse when storm sirens became audible over the music on the stereo. Her apartment is in a former armory building that has been converted for residential occupancy, and still features many of the large windows of the original structure. This gave all of us an excellent view of the tempest brewing outside, which very much resembled news footage of hurricanes in tropical places. The wind was violent, and the branches of nearby trees were whipping back and forth so fast that their leaves were flying away like bats from a cave. We turned on the television, and the local station was reporting that funnel clouds had been seen in Tippecanoe County, and that a Tornado Warning had been issued. During the broadcast, they announced that there had been some as-yet-unconfirmed reports that a tornado had already touched down in the Lafayette vicinity. Widespread power outages were being reported statewide. We cracked open the windows, so as to prevent breakage under the pressure of tornadic winds, which can reach speeds of up to 300 miles per hour. Then, we took advantage of the fact that the building was a former armory, and finished dinner in the exercise room, which is located in what once served as the bomb shelter of the former armory. When the radio reported that the tornados had traveled eastward, and had reached Peru, Indiana, we returned to Kate's apartment to watch the television reports on the aftermath of the storm. Several Lafayette-homes were severely damaged, and at least one was completely gone from its original location. Electrical power to much of the city was interrupted, including Sonic Iguana Studios, as it turned out. When I eventually returned home, both Desmond and Daysi greeted me in a manner even more manic than their usual canine greetings, having been obviously frightened by the severe storm.
Of course, it could have been much worse... When Jessie Snaza called on her cell phone from Key West, Florida, she let me know that both she and Maricela Alvarado had overestimated the time they could safely sunbathe, and had gotten a bit sunburnt.

2004-05-28T14:50:00.000-04:00

Lecturer Position at Purdue University

Yesterday I went in to sign a contract offer for a position at Purdue University. I will be beginning my duties as a Lecturer of Italian Studies in the Department of Foreign Languages & Literature in the Fall 2004 semester. I will be teaching one class, Italian Level I (ITAL 101).

This position is the result of a chance encounter. A few weeks ago, I ran into Professor Benjamin Lawton at a movie theater. I took a pair of Italian Cinema classes from Prof. Lawton during my college studies, and was very inspired by his knowledge and teaching abilities. He has remained one of my personal heroes ever since.

Prof. Lawton's 1975 book Literary and Sociopolitical Trends in Italian Cinema was the first textbook on Italian Cinema published in the United States. He is regarded as one of the world's foremost authorities on filmmaker Pier Paolo Pasolini. In fact, in 1988, Lawton's English translation of Pasolini's Heretical Empiricism won the Choice award for Outstanding Academic Book.

But Prof. Lawton defies simple descriptions. In addition to being an authority on Pier Paolo Pasolini (a very left-leaning artist, even by Italian standards), Prof. Lawton also attained the rank of Lieutenant Colonel in United States Army, earning numerous medals and commendations, including the Bronze Star Medal and the Special Forces tab.

Certainly, someone as free-thinking and liberal as Professor Lawton is the last person that comes to mind when imagining a person of his military experience. However, he is exactly the kind of person that I, for one, would hope would be in such a position of responsibility -- someone knowledgeable and open-minded who values human rights.

A few days after our chance meeting, Professor Lawton proposed the possibility of my taking on the position of Lecturer. How could I possibly pass it up?

2004-05-23T22:28:00.002-04:00

Surprise Birthday Party

Last night, Jessie Snaza threw me a surprise birthday party with help from Kim Milfort (my right hand at Sonic Iguana these last few months). I was greeted at the door by a houseful of friends (including my dog, Daysi) wearing party hats and tooting on party favors (is it just a coincidence that party hats look so much like dunce caps?). Dan Schafer was in the studio working on some Methadones tunes, so I even had a Chicago friend in attendance.
There was a great mix of people I know from around town, and the dinner table was a sounding board for many simultaneous conversations in English, Italian, and Spanish (in addition to the resident Americans (including our “star” Haitian-American recording engineer!), we had friends there from Colombia, Italy, Peru, Venezuela, Mexico, and El Salvador). Over the course of the evening, I showed some photos of my recent trip to Italy, we watched music videos, listened to CDs, talked about film, literature (mainly about Gabriel García Márquez, although we also read the poem “Vatos” by Luis Alberto Urrea), and politics, and had the additional privilege of hearing an impromptu recital of a poem entitled "Capricho" by Alfonsina Storni (1892-1938, an Argentinean poet, born in Switzerland of Italian parents) performed by our friend Alma Armenta Medina.

Later, I got the pleasure of having my first-ever birthday piñata! In what was undoubtedly an original technique with the traditional Mexican candy-stuffed birthday doll, Andrés Garcia swung the piñata at me, as I held a fireplace poker in my hands. We figured that the resulting gored clown effigy would be safer than swinging a sharp poker around in a room full of people and excited dogs. Naturally, with her canine instincts, Daysi thought that the clown piñata was trying to attack me, and felt the need to defend me by barking and growling at it!
Besides great food -- including pizza, lasagna, Jessie’s classic eggplant pasta, and cakes -- I also got some great gifts, including books, DVDs, and CDs. Kim went twice the proverbial "extra mile" and gave me a painting that she herself made of Desmond and Daysi. The surprise party itself was also a great present, and made for one of the best birthdays I can remember!

2004-05-06T14:33:00.000-04:00

On the Set of Loren Cass
My scene in the independent film Loren Cass has been shot. I played a scruffy customer buying lottery tickets with spare change from a convenience store clerk played by legendary punk producer and singer (of the Dwarves) Blag Dahlia.

Although I only acted in one short scene, the experience was exhausting. In much the same way as recording studio life, the schedules on the film set fell behind.. by seven hours! So, after reporting to my pick-up location at 6pm, I ended up standing around the set until 3am, when the cinematographer and director began "blocking" the scene. By then, I am sure that my scruffy look was enhanced by the extra hours of not shaving, in addition to general exhaustion!

The extra time on the set did give me a great opportunity to get to chat with Blag Dahlia, comparing production experiences and thechniques. I also got the opportunity to meet and chat with the leading female actor of the film, Kayla Tabish, whose credits include a role in the recent film The Girl Next Door.

Another recognizable actor in the film is Jacob Reynolds, who played the lead in the 1997 film Gummo, directed by Harmony Korine. Gummo was Korine's directorial debut, and his first screenplay following the success of Kids (1995), for which he co-wrote the screenplay at the age of 20.

Jacob is concurrently acting in a role in the film West Memphis Three, co-starring Michael Pitt. Supporting actors in that film include Gina Gershon, Sophie B. Hawkins, and Michael Madsen.

Loren Cass will still be in the shooting stage for at least a week, and then they plan to begin editing as soon as possible. There is no definite timeframe for its release, although they plan to complete the film in time to submit it for the next Sundance Film Festival.

While I was in St. Petersburg, Florida for the shoot, I also had the opportunity to visit the Salvador Dali Museum, which boasts the largest collection of Dali's works in the United States. The tour guide was very knowledgeable about Dali's works, and I learned quite a bit about the man and the artist during my visit.

2004-05-02T17:20:00.000-04:00

Latino Cultural Center/Latino Student Union Recognition!

On Friday, April 30, I attended a year-end (school year) celebration dinner for the Latino Cultural Center and Latino Student Union of Purdue University. I am a regular attendee of their events, and expected a casual get-together, so they surprised me very much by presenting me with a letter of recognition and thanks for my help to the center over the last year.

Ever since the opening of the center, I have been excited about their programs and events. I attend their weekly Spanish conversation meeting, and support their weekly showing of Latin films. Both these program are free of charge. They also had a great Dìa de los Muertos event, with Mexican food and sugar skull painting classes for the children of the community. Their anniversary event, open to the public, provided a cook-out and "birthday" cake, as well as a celebratory piñata for the kids. The center provides a means for both the local community to discover more about Latino culture, and to provide assistance and a home base for the Latinos of the community. Because of these types of great services and events, I decided to do all I could to support the center.

Last December, Squirtgun headlined a benefit concert for the Latino Cultural Center, that I helped organize and run. Before that, I donated the use of the Squirtgun P.A. system for use at a benefit dance at the newly-opened center. Also, the Sonic Iguana Studios/Squirtgun van has often been volunteered for use by the Latino Cultural Center during their special events.

Latino Cultural Center director Maricela Alvarado gave me a beautiful hardbound edition of the newest translation of Don Quixote by Miguel de Cervantes, while Latino Student Union president J.D. Laboy read the letter of recognition aloud to me and the rest of the attendants of the event. I am still beaming with pride at their gesture, and am also excited to get started reading the new Don Quixote translation by Edith Grossman!

2004-04-30T09:03:00.000-04:00

"Dont You Read Anything That Isn't So... Stuffy?!?"

That is what the e-mail I got yesterday asked me. I suppose that after the last two posts, with my academic publications, and the activism and and social awareness book suggestions, one could easily get the idea that I don't read books for pure enjoyment or artistic reasons.

The fact is, I easily read more novels and short stories than non-fiction books. Often the novels I like are either based in fact, or real-world situations, and help illustrate socio-political situations. But many times, they are purely set in fantastic worlds, and are full of magical elements. Often, even these stories can help illustrate philosophical or spiritual truths -- a great example of this being Aesop's Fables. In many cases, fiction speaks the truth.

Here is a list of a few of the books I have read (or re-read) so far this year (I am sure that I am leaving some out):

The Dew Breaker by Edwidge Danticat

Krik? Krak! by Edwidge Danticat
Breath, Eyes, Memory by Edwidge Danticat
Cien Sonetos de Amor(poetry) by Pablo Neruda

Across the Wire by Luis Alberto Urrea

Nobody's Son by Luis Alberto Urrea
The Devil's Highway by Luis Alberto Urrea
Six Kinds of Sky by Luis Alberto Urrea

Snow Angels by Stewart O'Nan

The Speed Queen by Stewart O'Nan
One Hundred Years of Solitude by Gabriel Garcia Marquez
The Anomalies by Joey Goebel
American Skin by Don De Grazia

The Alchemist by Paolo Coelho

Eleven Minutes by Paolo Coelho
The Reader by Bernhard Schlink
The Underdogs by Mariano Azuela
Marcovaldo by Italo Calvino

2004-04-27T02:52:00.000-04:00

Academic Publications
In the past few weeks I have received two e-mails asking about my academic publications.

In the early 1990's, I did some research in the laboratory run by Dr. Richard Schweikert in the Department of Psychological Sciences at Purdue University, and in the process of data collection, came up with some analyses about the numbers I had collected. We were measuring short-term memory recall response time differences between stutterers and non-stutterers, as a means to determine the influence that the delayed oral repetition had on the overall recall rate.

I had intended to continue this research as part of a graduate school program towards an eventual doctorate in the field. However, when my father was diagnosed with glioblastoma multiforme brain cancer, my brother and I both decided to put our studies aside and take care of our father. When he eventually passed away, I put my focus on my musical interests, and did not return to psychological research. Flav returned to his graduate work in molecular genetics, and went on to earn a Master's from Washington University of St. Louis, and a Ph.D. from the University of Washington in Seattle.

In all honesty, this material makes for pretty dry reading to all except those who are fully immersed in the specialties of Mathematical or Statistical Psychology. Nonetheless, for those of you who really want to read it...

Response Time Distributions: Some Simple Effects of Factors Selectively Influencing Mental Processes (1999) by Richard Schweikert & Mass Giorgini, from the Psychonomic Bulletin and Review, Volume 6, Issue 2, pages 266-288.

I also co-authored another one that is not available online, but can be found in the psychology library of any major university. The link below connects to an abstract of the article from the National Library of Medicine:

Selective Influence and Response Time Cumulative Distribution Functions in Serial-Parallel Task Networks (2000) by Richard Schweikert & Mass Giorgini, from the Journal of Mathematical Psychology, Volume 44, Issue 4, Pages 504-535.

Although the majority of the historical research and active laboratory data collection took place in the early part of the decade, between the time taken to properly write the reports, submit them to the academic journals, and then finally have them appear in publication, the articles made it to print much more recently.

2004-04-26T03:49:00.000-04:00

E-mailer with a Social Conscience

I recently received an e-mail from someone who has been keeping up with the blog. Here is what that person wrote, and my reply:

Mass,
I’m a big fan of your music / productions, etc. I really enjoy reading your new blog, too. Anyway, I was wondering if you could recommend literature (titles) that may help put social crises into a clearer perspective. I’ve always been interested in activism; however, before one can contribute to a cause one has to understand the problems and WHAT MAKES THEM PROBLEMS. I’ve noticed over the years that while many punks and ‘scene-sters’ have their hearts in the right places, many of them don’t really know exactly what these issues are, and they eventually get bored and forget about them. I’d like to learn more and become socially responsible, so if you can recommend a title or two or have any advice to give, I’d appreciate it.
Thank you~ XXXXXX

First off, I appreciate the kind words, and especially the implication that what I have to say in regards to social crises has relevance to anyone other than myself. Secondly, I have to say that as much as I try to devote time and passion to being reasonably aware of the problems going on in the world, I am fully conscious that there are many very important and relevant causes with which I have only cursory familiarity, and several others of which I know absolutely nothing.

However, in order to help affect social change and do one’s part to improve the status quo, I do not think it is necessary to know everything. It certainly is good to know as much as possible about a least a few topics, and to inform oneself to a reasonable degree about as many others areas of concern as one can. What is necessary is that everyone, or at least a majority of people in democratic countries, makes their opinions known through the way they vote, behave, buy, and speak out to the people around them.

General Reading:
The books and magazines I am recommending here are decidedly left-leaning. There are two reasons for this: First, while it is easy to find middle-of-the-road, and even conservative, information in classrooms, on the average newsstand, or on television, I believe that there is serious dearth of liberal thought available in the mass media, second, my own leanings are unmistakably left of the status quo, probably best described as “socialist,” although not necessarily in the sense of any actual party affiliation that claims that name. Regardless, a balance between the following sources and more traditional ones, such as Time Magazine, The Economist, Foreign Affairs, C-SPAN, CNN, and established history and political science textbooks would most likely give the reader a better-rounded concept of the contemporary and historical sociopolitical landscape.

Books:

The Global Activist's Manual: Local Ways to Change the World by Mike Prokosch.

The Activist's Handbook: A Primer by Randy Shaw.

Activists Beyond Borders: Advocacy Networks in International Politics by Margaret E. Keck, Kathryn Sikkink.

A People's History of the United States: 1492 to Present by Howard Zinn.

Hegemony or Survival: America's Quest for Global Dominance (The American Empire Project) by Noam Chomsky.

Antonio Gramsci: Architect of a New Politics (Political Traditions in Foreign Policy) by Dante L. Germino.

Cultural Resistance Reader by Stephen Duncombe.

Power Politics by Arundhati Roy.

Magazines:

Z Magazine

Harper’s Magazine

The above books and magazines are great places to glean some intelligent liberal thought. In some cases, the arguments and angles presented are further left than I would personally venture. However, in context with the rest of the references in the list, and in addition to the more mainstream publications I mentioned earlier, I believe that one can cull enough information and philosophies regarding the current world situation (and possible improvements to it) to form educated opinions, and decide on proper courses of action for oneself.

In my own case, I have decided to support both the Amnesty International and Humane Borders organizations (links on the left side-bar) as much as I can.

Amnesty International has worked small miracles in the areas of women’s rights, religious freedom, the elimination of torture, the rights of political prisoners, and continue to focus on many other worthy issues all over the world. They are also currently at work to help prevent the deportation of illegal Haitian immigrants, many of which have not only risked their lives to escape extreme poverty, but also political imprisonment, torture, and execution.

By far the definitive book on Haiti, not only for the current political situation, but also historically, culturally, and socially, is Haiti: The Breached Citadel by Patrick Bellegarde-Smith. This edition is currently out of print, but a second, and updated edition will be published in the upcoming months.

Another significant source for insight into Haitian and Haitian-American culture are the works of Edwidge Danticat. Although formally a writer of fiction, her books draw heavily from her own cultural experiences, and extensive research into the very real and grim realities faced by the Haitian people. Excellent examples of her work are Breath, Eyes, Memory, Krik? Krak!, and her latest, The Dew Breaker, which I will be reviewing in an upcoming post.

Humane Borders focuses on preventing as many deaths as possible for the veritable flood of immigrants that walk through the desert to enter the United States from Mexico every year. The most recent estimates place the numbers at approximately 5 million people per year, and most of these people cross through highly dangerous stretches of the Arizona desert. Humane Borders runs over 30 water stations at various high-foot-traffic spots of desert along the U.S.-Mexico border, and provides over 10,000 gallons of water per year to walkers in danger of dehydration.

For more information on the perils faced by these immigrants, be sure to read The Devil’s Highway, by Luis Alberto Urrea, which I reviewed in an earlier posting. Other pertinent books include Coyotes: A Journey Through the Secret World of America's Illegal Aliens by Ted Conover and Crossing Over: A Mexican Family on the Migrant Trail by Ruben Martinez.

The above is by no means a complete list of everything one can read to decide on what cause they wish to support, but it should certainly be a good start!

2004-04-19T03:28:00.000-04:00

The Paper Storm
Luis Alberto Urrea to Workshop a Portion of My Novel-In-Progress
In the course of the last year, I have struck up a wonderful friendship with author Luis Alberto Urrea. Luis has written several excellent books, noteworthy for their insights into the U.S.-Mexican border situation, as well as for their exceptional writing. He has published not only non-fiction books, however, but also award-winning volumes of poetry, as well as novels and short stories of fiction.

Luis has introduced me to many other musicians and authors in the course of our friendship. He even granted me an interview for Punk Planet magazine, which will be published in an upcoming issue. Luis has also been very receptive to checking out several of the albums I have either produced or performed on, and authentically enjoys quite a few of them.

During the course of our communications, and my continued reading and re-reading of his works, Luis has inspired me to begin work on a novel of my own. It is a memoir, dealing mainly with events from my own childhood, and the background of my parents. The working title is The Paper Storm, and Luis has offered to help me, through critique and advice regarding structure, content, and writing.

In addition to being an accomplished writer, Luis is also a seasoned creative writing instructor, having taught at both Harvard and the University of Illinois at Chicago. As a first step in reviewing my book, I will be presenting a portion of my text to the non-fiction workshop he teaches at UIC.

For a great example of Luis Alberto Urrea's work, I would highly recommend his latest, The Devil's Highway, which I reviewed on this blog on April 9, and is now available at bookstores everywhere. Another personal favorite is his short story "Mr. Mendoza's Paintbrush," for which I am currently doing a translation into Italian. This short story is available in his book Six Kinds of Sky, which also include five other great pieces.

2004-04-16T13:19:00.000-04:00

Here is part of an article that ran in The Denver Post just a couple of months after my father first arrived in the United States. I think it makes for some entertaining reading...

Visiting Italian Scientist Finds U.S. Grad Study ‘Practical’
The Denver Post, Friday, November 23, 1962
by Barbara Haddad, Staff Writer
Aldo Giorgini of Italy made his first acquaintance with American customs in 1942 when a G.I. offered him some chewing gum. His viewpoint is being broadened considerably this year.
“I find graduate education in the United States a good deal more practical than in Italy,” Giorgini said in an interview. “The organization of examinations doesn’t cause nearly as much emotional strain.”
He said the friendliness of American professors was a pleasant surprise. “Italian teachers are dictators,” he said. “Here they are such warm and human people.”
Giorgini was a teacher himself for two years at the University of Turin, where he was assistant professor. Then he taught, studied, and did research at Milan Polytechnical University on the cooling of nuclear reactors.
Giorgini arrived at the university in Fort Collins, Colo., Sept. 30, but he already has some distinct impressions.
He finds American cooks skillful, he said. “But not when they try to make Italian food,” he said. “They should make what they know best.”
Giorgini has two hobbies: painting and music. “I don’t like to talk about ‘abstract’ or ‘objective’ art,” he said. “Any good painting is art. The labels don’t matter.” His work has been exhibited In Turin.
In music, he’s taken a recent interest in string quartets. “You have some fine American composers,” he said. “I like especially (Aaron) Copland and (William) Schuman.”
Giorgini sports a beard and mustache that he insists he grew long before Fidel Castro came to power in Cuba. “I have had it six years,” he said. “I started it just for fun.”
He said Italian girls seem to like it.
And American girls? “I don’t know yet,” he said.

2004-04-14T03:29:00.000-04:00

Screeching Weasel Website Overhaul

The Screeching Weasel website has undergone a major re-working. The site is much improved, and features several newer photos. The photo on the left is (left to right: Ben Weasel, me, John Jughead) from our Spring 2001 show at the House of Blues in Chicago.
The band is still discussing various live possibilities for the summer, but no definitive plans have been made yet. Keep posted to screechingweasel.com for the latest updates.

2004-04-13T02:08:00.000-04:00

Paul Mahern: Punk Rock Legend
Today I received a very welcome e-mail from one of my heroes. Apparently, while web-surfing he came across this blog, and felt inspired to write to me. Coincidentally, I had been thinking about Paul Mahern in recent weeks, and had been planning to write to him. That is the second such coincidence in my life in the past few weeks.

Paul Mahern was my one biggest inspiration in becoming a punk rock producer. Paul was one of the very first producer/engineers to specialize in punk rock during the D.I.Y. punk rebirth of the early 80's. His recordings of punk bands easily stood out from most others in that he understood how the music was intended to sound. In the course of his punk rock recordings, he worked with several noteable punk bands, including Toxic Reasons, Naked Raygun, Articles of Faith, the Effigies, Sloppy Seconds, and his own band, the Zero Boys. Paul has since gone on to work with internationally acclaimed artists in other genres, including John Mellencamp, Iggy Pop, and the Blake Babies.

Although producing may be where Paul built his reputation and lasting recognition, the Zero Boys were more than just another punk band. With great hooks, and one of the best collections of musicians in the history of the genre, the Zero Boys were one of the bands that helped define and invent melodic hardcore (Sadly, today what is called melodic hardcore is a beast of another stripe entirely, but the modern genre owes more than its name alone to bands like the Zero Boys).

Paul's excellent vocals and lyrics, combined with the precision drumming of Mark Cutsinger, the speed-demon finger picking of bassist David Clough (aka Tufty), and the guitar chops of both original guitarist Terry Howe, and replacement Vess Ruhtenberg, made the Zero Boys a band that still stands the test of time. The Zero Boys' 1982 full-length debut, Vicious Circle, still sounds as aggressive and infectious today, 22 years after its release.

But the band was influential on me in more than just the musical sense. Paul's lyrics -- especially on their second album, Make it Stop, and their last, Heimlich Maneuver -- championed equality of genders and races, and the rights of the poor, while denouncing modern imperialism and questioning the exclusionary nature of our immigrantion policies. The Zero Boys were socially conscious and outspoken.

I first met Paul in 1987, when I set up a pair of reunion shows for the Zero Boys. I was 19 years old, and very nervous and excited to meet such a legendary man. He treated me with respect and kindness, and we struck up a great friendship. In 1988, he produced the self-titled album for my first band, Rattail Grenadier (Roadkill Records). Later, when I decided to begin recording, he taught me several of his techniques, and even hired me to work with him as an assistant engineer. I learned quite a bit about music production from Paul, including the fundamental importance of a good performance.

So, Paul, thanks for being there and setting an example -- in production, music, and in your advocation of human rights. I doubt I would be producing punk rock records today if it were not for you.

-mass

2004-04-11T21:54:00.000-04:00

Interview by Bianca Valentino of 15th Precinct

I just completed a 34-question interview conducted by Bianca Valentino of Brisbane, Australia. A few years ago, Bianca started a zine called 15th Precinct that is available widely in Australia, and in the U.S. through Interpunk. She recently won a prestigious Australian arts scholarship, and this award will help fund her ongoing writing projects, including the aforementioned zine and a book for which she is currently doing research.

In the past she has interviewed many people involved in the punk scene for many different Australian zines and newspapers, including Jesse Michaels, Mike Park, Justin Sane, Dan Sinker, Brody Dahl, Matt Skiba, to name a few. What follows are a sample of a few of the questions and answers from the interview.

Bianca :
When and where were you born, and what were you like growing up?
Me:
I was born in 1968 in Lafayette, Indiana to Italian immigrant parents. But outside of the first year I was alive, most of my early years were spent back in Italy, and I began my schooling there. When I finally did come back to the U.S., I did not speak English. My parents put me in school as soon as we returned, but not speaking the language definitely set me apart from the rest of the kids at my school.

I was the outsider. I did not fit in with the American kids. Lafayette -- at least the part of town I grew up in -- was very blue-collar, conservative, and stereotypically white-bread American. There were no other non-Anglos in my neighborhood, and to many of them, we were savage, uncivilized foreigners.

At first, this was very difficult and alienating for me, especially with the language barrier taken into consideration. But, in time, I learned the language and culture well enough to fit in like one of the locals. In the process, I realized that I had also learned so much about myself, my family, and my heritage that I was proud to be different. Maybe it is because of the emotional experience of my childhood that to this day I am so attracted to the plight of immigrants and minorities.

In fact, some of my favorite authors have gone through similar experiences; Luis Alberto Urrea was the son of a Mexican father and an American mother, and never fit in perfectly in either world, while Edwidge Danticat is the daughter of Haitian immigrants, and moved to the U.S. at age twelve, not speaking any English. I am sure that this similarity in our background is part of the reason that their writing voices speak so clearly to me.

Bianca:
What’s something that’s happened in the past to define who you are today?
Me:
Beyond the feeling of being an outsider for much of my youth, I think that my family experience has had much to do with who I am now. My mother was from a poor working-class family in Italy. She grew up during the Second World War, and witnessed first-hand many of the atrocities of the Nazis and Fascists as they were retreating northward from the Allied advances in southern Italy. She brought me up with a markedly leftist bent. She was well educated in political science and law, and became one of the first female doctorates in criminal law in Italy. My mother, however, was also schizophrenic, and her struggle with the illness ended with her suicide when I was nine years old.

My father as well came from a working-class family, and was the first in his family to even attend high school. He was raised for most of his early years in a prison camp in North Africa. He was largely self-schooled, and only entered a conventional school system after his release from the camp, late into his high school years. But his drive to learn was quite intense. He won many scholarships, and ended up with two doctorates, one in Civil Engineering, and one in Mechanical Engineering. He was working on a third, in Physics, when he was stricken with brain cancer at 60 years of age. My father was also a noted artist, and his work has been exhibited all over the world. A few of his pieces are now a part of the Smithsonian collection in Washington, D.C.

2004-04-10T03:00:00.000-04:00

Mass the Actor?

An independent filmmaker based in Florida contacted me a couple of months ago in regards to a film he will be shooting at the beginning of May in the Tampa/St. Petersburg area. The director's name is Chris Fuller, and his film is entitled Loren Cass, and the story revolves around a small group of punk rock kids in search of what is missing from their lives. The entire film will include a punk rock soundtrack, with some of the lyrics of the songs working their way into the dialogue.

Chris asked me to act in the film in a cameo role. Based on what he told me about the film, added to my own long-time interest in movies, I accepted. A few other punk rock cameos will also be featured in the film, including Blag Dahlia of the Dwarves, Chris Bauermeister of Jawbreaker, and Chris Barrows of the Pink Lincolns.

I will post further information and updates here as I know more.

2004-04-09T03:11:00.000-04:00

A Review of The Devil's Highway: A True Story by Luis Alberto Urrea

Luis Alberto Urrea earned the moniker “the Voice of the Border” through his unflinching portrayals of life in the slums of Tijuana in his books Across the Wire and By the Lake of the Sleeping Children. In his latest and best effort yet, the Devil’s Highway, he chronicles the tragic voyage of the “Yuma 14” -- the fourteen illegal Mexican immigrants who perished in the blistering heat of the Cabeza Prieta desert in an ill-fated attempt to enter the United States. The goal of these pour souls was simply to earn enough money to feed their destitute families in their remote Mexican villages.

But the Devil’s Highway is far more than just the account of what happened to these fourteen unfortunate walkers. Urrea also details the near-death experience of the surviving walkers, as well as the human smuggler who lost them in the desert. This coyote abandoned them in the baking sun after taking all of their money – in exchange for promises of water and an eventual rescue. Even in the case of the coyote, however, Urrea manages to write a heartfelt and impartial account of every player in the tragedy.

In the course of the Devil’s Highway, the stereotypes of the evil Migra are dashed when Border Patrol agents turn out to be humanitarian lifesavers, paying from their own pocket to help save walkers. The image of the opportunistic coyote is also defaced by the revelation that he is just a young man in love, making a modest wage in a very dangerous line of work.

In the final analysis, it becomes obvious that every person involved in the tragedy is exactly that – a human being. If anyone is to blame for the tragedy, we are all to blame. It is in that sense that the ultimate finger of blame has to eventually point at the U.S. and Mexican governments. Their efforts to end the dilemma could be considered laughable, if not so disastrous: from the Mexican side there are signs telling walkers not to walk, and on the U.S. side there are preventive walls and fences that discourage them from crossing where it might actually be safe to do so. In order to make the passage, the immigrants are forced to traverse a hostile desert. Yet, as Urrea so successfully demonstrates, the two countries are in truth extraordinarily codependent.

Through prose that reads like poetry, and reality that is shockingly surreal, Urrea puts the reader in middle of the arid barrenness that delineates the U.S.-Mexican border. More than only a physical divide, the border created the by heat and desiccation of the wasteland that separate the two countries is exposed to function as a symbol of all the imagined differences that separate us. With a passion that permeates every word of the story, Urrea illustrates that the only place that none of us belongs is to be lost along the Devil’s Highway. “In the desert, we are all illegal aliens.”

The Devil’s Highway is essential reading for socio-political relevance, passion, compassion, imagery, and the sheer beauty of its prose. It is also unquestionably Luis Alberto Urrea’s crowning achievement – a masterpiece.

2004-04-08T15:10:00.000-04:00

Keep Your Eyes Peeled.

At least, that’s what I should have told her. Jessie let me know that she would clearing some of the branches, leaves, dead shrubs, and dog crap that covered almost every inch of our back yard. Of course, the thing you tend to be most wary of is the dung – since you really don’t want to step in it by accident, and then track it all over the house.
Jessie

Then again, the old thorn bushes can be a detail to keep an eye on, as well. Of course, not literally... As she was picking up some loose limbs, she stepped on a loose shrub that then shot up at her face. The thorn of the branch latched into her eye lens, and peeled it back.

At first, she thought that she had just gotten some dirt in her eye, but when she went to wash it out, and looked in the mirror, she saw from her “good” eye that a piece of the lens of the other eye was literally hanging out from her eyeball. After a trip to the emergency room, an eye rinse and examination, the doctor told her that she had been lucky, and that the tear was clean enough that it should re-attach itself with no permanent damage to her vision.

Jessie is still applying disinfectant protective eye drops multiple times daily, but her vision is slowly returning to normal.

2004-04-06T10:00:00.000-04:00

Being that this is my first post on the blog, I am still a bit unsure exactly what sorts of things I will be posting here, and with what frequency. Initially, at least, I will try to give personal updates as to what I am doing in various parts of my life, whether they be related to any of the bands with which I am involved (Squirtgun, Screeching Weasel, Common Rider), with my production work and recording studio (Sonic Iguana Studios), or with my writing (I have upcoming columns and interviews I have written or conducted that will appear in Punk Planet, PUNK, and Rock Sound).

In addition, I hope to discuss various books I have read, films I have seen, music I have heard, or even my viewpoints on various socio-political issues.

Because my take on this blog is so informal, I will also probably write about random things on occasion, such as my favorite dishes, or the latest tricks I teach my dog.

I suppose that time will tell, and a year from now I may look back and think it ridiculous that I ever started a blog.