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RIP THIS PAGE OUT Through out 2014 we surveyed new subscribers asking how they heard about Razorcake and why they decided to order a subscription. The answers were varied, reflecting the If you wish to donate through the mail, uniqueness of the DIY punk experience. But there a couple please rip this page out and send it to: answers that were repeated. Razorcake/Gorsky Press, Inc. A somewhat common response to the first question was PO Box 42129 that they had been introduced to Razorcake through a friend. Los Angeles, CA 90042 So to all you friends out there: thank you! Keep up the good work. A word of mouth campaign is our dream. Your personal NAME: endorsement makes us proud. The leading response to the second question was that they ordered the subscription because they wanted to support the ADDRESS: magazine. Again: thank you! It is very much appreciated. Subscriptions and advertising is what keeps us afloat. We can’t physically fit anymore advertising into the magazine, but the world is full of people who have yet to subscribe. EMAIL: If you’re considering ordering a subscription but want to avoid the hassle, we’ve set up a self-renewing plan through Paypal. You sign up once and it automatically withdraws the DONATION money once a year. You never have to do anything ever again. AMOUNT: It can be found here– Razorcake/Gorsky Press, Inc., a California non-profit corporation, is http://www.razorcake.org/announcements/sign-up-for-a- registered as a charitable organization with the State of California’s Secretary of State, and has been granted official tax exempt status self-renewing-razorcake-subscription (section 501(c)(3) of the Internal Revenue Code) from the United States IRS. Our tax ID number is 05-0599768. Thanks, Your gift is tax deductible to the full extent provided by law. Daryl SUBSCRIBE AND HELP KEEP RAZORCAKE IN PRINT Subscription rates for a one year, six-issue subscription: U.S. – bulk: $17.00 • U.S. – 1st class, in envelope: $23.00 Prisoners: $23.00 • Canada: $25.00 • Mexico: $33.00 Anywhere else: $50.00 (U.S. funds: checks, cash, or money order) We Do Our Part www.razorcake.org Name Email Address City State Zip While supplies last, U.S. subscribers (sorry world, int’l postage sucks) will receive either Nightmare Boyzzz, Say What You Mean 7” (Arkam) or Rise Up Howlin’ Werewolf, The Indian Curse Will Bring You Back To Me 7” (Arkam). Although it never hurts to circle one, we can’t promise what you’ll get. Return this with your payment to: Razorcake, PO Box 42129, LA, CA 90042 If you want your subscription to start with an issue other than #86, please indicate what number. Ownership Versus Consumption Being poor sucks. But buying shit beyond the essentials doesn’t of black electrical tape over its corporate logo. The monitor helps empower you. It makes you a consumer. It’s how you consume that enable me to write this editorial. I researched the price and quality of makes the difference. monitors. I purchased one that was in my budget and had a low repair I think I’m pretty good at making zines and fixing bicycles. rate. I am not “friends” with the monitor or its parent company. I do They share a lot in common. You serve as the engine to get them to not “like” them on social media. It’s a good monitor. It doesn’t make move. You must put energy into them. The processes to create either my eyes hurt. When I got pulled over by a cop on my bike and he are transparent. Zine: make a template, talk to people, take photos, asked for the make and model, I said, “Black.” I invited him to look write, lay out, print. I see every step of the way that goes into making for any distinguishing marks on the frame. After an inspection, he Razorcake. Tire went flat on the bike? Find the hole, pull out the repair wrote “black” on the ticket. kit, scuff the tube, patch, glue, set, ride. I love riding my bike. It’s a direct result of a doctor telling me Things go wrong. Some are complicated, frustrating, and four years ago that I had high blood pressure and cholesterol and I inconvenient. With a zine, there are corrupted or missing fonts and should get on meds—meds that I would possibly have to take for the cryptic error messages in ever-drifting software. Or the chain slips rest of my life. I asked the doctor, “What about diet and exercise? on a bike when torquing uphill, a wheel’s out of true and the spoke Give me a year,” I said. “I’ll check-in in six months.” She shrugged. nipple just broke. Damn. Not all fixes are instantaneous. Not all Consumption can promise instant gratification. Today, my cholesterol diagnoses are correct. But to see it all in front of me—cable, gears, is optimal and my blood pressure’s no longer borderline. Ownership paper, staples—they’re tangible, surmountable. is lifelong, one slow rotation at a time. The empowerment that can I take some level of comfort with zines and bicycles that when develop from ownership takes work—you’re your own boss. something isn’t working correctly, I can look at it, isolate it, and devise Here’s where DIY comes in. I do my best to support other real a plan. However small—from a rear derailleur to converting fonts to people I admire. These people make things that are rad. I often buy outlines for an interview to output properly—that’s empowerment. these things, but let’s be clear. These relationships are different from That’s self-reliance. That’s ownership. I purchased something I myself what corporations promise. The human-made, smaller batch object, didn’t make—a bicycle, a computer—but I use them as tools to make often based in thrift and generosity—a subscription to a zine, a record, zines and to ride all over Los Angeles. a T-shirt, a book, a website—means something far beyond profit The brands of these items, to me, aren’t nearly as important as margins or “building shareholder value.” These DIY things have what I can make from the devices. Corporations, through carefully invisible cables, wires, and energies that connect real people to one constructed and controlled proxies of “communities,” are ever-more another that truthfully can’t be replicated. adept at blurring the line between consumption and ownership. It’s in I hope you can see that you are holding one of those things their best interest. The monitor I’m staring into right now has a swatch right now. –Todd Taylor Razorcake Cover design by Keith Rosson (keithrosson.com) THANK YOU: He had no way of knowing that the color of the Delay PO Box 42129, LA, CA 90042 Including photos by Jonathan Velazquez and cover is really close to Razorcake HQ’s exterior paint thanks to Keith razorcake.org Danielle Kordani Rosson; “They’re wingtips” to illustrate how ye olde Sean is—thanks gorskypress.com to Brad Beshaw for his illo; No political party has the market cornered on sadness. Thanks to Jackie Rusted for her illo. in Jim’s column; Meat facebook.com/razorcake “If there ever was from the back of a pick-up, Dream Phone backyard tent, propane tank twitter.com/razorcakegorsky thanks to Steve Thueson for his illos. in Cassie J. Sneider’s column; youtube.com/RazorcakeGorsky compassion, then its Undead Kennedys censorship sticker (for the kids) thanks to Marcos razorcake.tumblr.com Siref for his illo. in Nørb’s column; According to Bill Pinkel’s illo. in razorcake-records.bandcamp.com story's been sold. Stripped Dale’s column, my hand is up Gene Simmons’s ass. I’m fi ne with that; gorskypress.bandcamp.com down for parts and then Viking polar bear stares at tundra Chicken thanks to Kasia Oniszczuk instagram.com/razorcakegorsky for her photo; Cops, man, they’ll take anything cool and beat you with left in the cold.” it (pinball wooden legs as billy clubs) thanks to Kayla Greet, Gene –The Tim Version, Hwang, and Eric Baskauskas for the “One Punk’s Guide to Pinball” ADVERTISING / CONTRIBUTOR DEADLINE "The Future of Humanity Is Dogs," Ordinary Life article, photos, and layout; Frankendork—free of murdering—as ISSUE #86 a rite of passage thanks to Kurt Morris, Mike Maguire, and Lauren April 1, 2015 Razorcake/ Gorsky, Inc. Board of Directors: Todd Taylor, Measure for the Liz Prince interview, photos, and layout; Yep, that Visit razorcake.org/advertising Sean Carswell, Daryl Gussin, Dan Clarke, Katy Spining, John Felice, co-founder of The Modern Lovers in 1970, then The Real Ad rates start at $40. Leo Emil Tober III, and Catherine Casada Hornberger. Kids in 1972 thanks to Ryan Leach, Lindsey Anderson, Lisa Merrill, and Becky Bennett for the interview, photos, and layout; Alligator pear, deep Grandma love, and the open proposal for dance cards at DIY punk shows thanks to Sean Arenas, Dani Kordani, Shelby Fujioka, Jonathan Velazquez, Becky Bennett, and Justin George for the Delay interview, transcription, photos, and layout; American Gothic in cherry print dresses thanks to Alice Bag, Angie Skull Garcia, Genesis Bautista, Andrew Wagher, and Becky Bennett for the No Small Children interview, transcription, photos, and layout. It’s not a fetishizing of “archaic” media; it’s recognizing that physical objects made of petroleum and paper often last longer than their host devices or invisible data “clouds.” Thanks to #85’s rotation of music, zines, books, and video reviewers: Kayla Greet, Camylle Reynolds, Indiana Laub, Craven Rock, Tim Brooks, Seth Swaaley, Sammy Thrashlife, Lisa Weiss, Keith Rosson, John Mule, Ryan Nichols, Mike Frame, Sal Lucci, Kurt Morris, Rich Cocksedge, Kelley O’Death, Art Ettinger, Chad Williams, Nørb, Matt Average, Michael T.

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