I Am Human Escape the Fate Album Download I Am Human Escape the Fate Album Download

Total Page:16

File Type:pdf, Size:1020Kb

I Am Human Escape the Fate Album Download I Am Human Escape the Fate Album Download i am human escape the fate album download I am human escape the fate album download. 320 kbps Escape the Fate – I Am Human (2018) Album Download Escape the Fate – I Am Human .zip download[Leak] Escape the Fate – I Am Human Album zip Download. Escape the Fate – I Am Human Full Album leak Download link MP3 ZIP RAR [Free ZiP] Escape the Fate – I Am Human Full Album Leaked Download Escape the Fate – I Am Human Album zip Download Escape the Fate – I Am Human (2018) download Album 320 kbps Escape the Fate – I Am Human Full Album Download Download Album Free Escape the Fate – I Am Human Zip RAR mp3 320 (2018) Album Download Escape the Fate – I Am Human Download Free Album. Artist: Kacey Musgraves Genre: Post-Hardcore Quality: mp3, 320 kbps. Track list: 01. Beautifully Tragic 02. Broken Heart 03. Four Letter Word 04. I Will Make It Up To You 05. Bleed For Me 06. Do You Love Me? 07. I Am Human 08. If Only 09. Empire 10. Recipe For Disaster 11. Riot 12. Digging My Own Grave 13. Resistance 14. Let Me Be 15. Dead To Me (Bonus Track) 16. Mask (Bonus Track) Ungrateful. While their previous, self-titled album found them taking their sound in a more muscular direction, Escape the Fate find their knack for melody again on their fourth album, Ungrateful. Though the album retains a lot of the heaviness of their last effort, there's a soaring quality here that feels like the band is opening its sound up more, allowing the big moments to go in whatever direction is natural rather than trying to give everything a hard edge. With more room to stretch out, it definitely feels like Escape the Fate are moving into more familiar -- and more comfortable -- territories, making Ungrateful an album that feels like a return to form for the band. I am human escape the fate album download. Escape The Fate - I Am Human (Deluxe) (2018) Country: USA Genre: Post-Hardcore Quality: Mp3, CBR 320 kbps. Tracklist: 1. Beautifully Tragic 2. Broken Heart 3. Four Letter Word 4. I Will Make It Up To You 5. Bleed For Me 6. Do You Love Me? 7. I Am Human 8. If Only 9. Empire 10. Recipe For Disaster 11. Riot 12. Digging My Own Grave 13. Resistance 14. Let Me Be 15. Dead To Me (Bonus Track) 16. Mask (Bonus Track) Also you can download Escape the Fate - I Am Human (Deluxe Edition) (2018) here: This War Is Ours. Escape the Fate went through a lot in 2008, not the least of which was the incarceration of singer Ron Radke. Now re-loaded with Blessthefall vocalist Craig Mabbitt, the band has struck back with the dynamic THIS WAR IS OURS. Neither a raging storm of hardcore screams nor a wounded, emotional mess, the album focuses on Escape the Fate’s strengths. The opener, “We Won’t Back Down,” is blazing and anthemic, with classic “whoas” in the chorus, and the title track balances metalcore toughness with urgent melodies that sound like a band on a mission. ALBUM REVIEW: ‘I Am Human’ by Escape The Fate. ​ It’s utterly baffling that Escape The Fate are still around, especially seeing as they’ve produced nothing of quality in the longest time. What’s more, there’s nothing even about that’s necessarily worth paying attention to, or that really pops out beyond the usual scenecore pop-metal fluff. For as deplorable a human being as Ronnie Radke is, at least Falling In Reverse have colour and controversy as a boon; Escape The Fate comparably come across as so benign and white-bread that it’s difficult to understand why anyone has even paid attention for this long. Still, as with any band, there’s always an opportunity for improvement, so perhaps six albums in, I Am Human will be Escape The Fate’s chance to reverse their fortunes and move away from their flailing track record. Now they’re some pretty specious claims in all honesty, and even with an immediate lack of optimism, I Am Human still manage to sink further into Escape The Fate’s ever-widening swamp of awfulness as another lazy, uncreative “effort” that, by all rights, more people should be picking up on by now. 2015’s Hate Me might have been terrible too, but if anything, I Am Human doubles down on all the derivative, redundant traits of that album, beating this dead horse even deeper into the ground. The worst thing is this isn’t even surprising anymore, just disappointingly par for the course – Escape The Fate come out with a new album every two or three years that’ll sate a young, devoted fanbase despite being horrendous in almost every conceivable way. And ultimately, it’s difficult to know where to even start here, seeing as I Am Human is, for all intents and purposes, the same album as its predecessor. Of course, this is most prominent in the content, with Escape The Fate yet again opting to recycle the same handful of clichés that were drained of all vitality long ago, and broadly relatable enough for even the youngest listener they’ve suckered in to think it’s speaking directly to them. Thus, we get another execrable collection of songs centred around wallowing over a breakup, the edgy darkness within, and who could possibly forget being an outcast, eh? “I am weird, I’m a freak / I am different, I’m unique” sings Craig Mabbitt on the title track, with the sort of unctuous, overwrought delivery that only the most gullible of pre-teens would sympathise with, and would rightly instigate uncontrollable dry- heaving in literally everyone else. If this was the only example there’d by plenty wrong right here, but this is the sort of basic pandering that I Am Human is exclusively, all with a hefty dose of saccharine glazed on top for that extra crossover “appeal”. Recipe For Disaster and Digging My Own Grave try to be so dark and transgressive but end up so laughably terrible, while Bleed For Me and If Only feel like stock ballads with zero original spin put on them, even in the latter’s attempt at framing a song about the loss of a loved one as a jaunty acoustic number. Get to the obligatory “hedonistic rockstar” tracks of Empire and Riot , and they feel so thin and flimsy that the total lack of tonal consistency with everything else becomes the least of their problems. Don’t go thinking that the abject lack of ingenuity ends there though, because instrumentally, Escape The Fate are as creatively bankrupt as they’ve always been, so much so that they’ve even resorted to openly ripping off other songs; Broken Heart and I Will Make It Up To You are shameless copies of Papa Roach’s Help and My Chemical Romance’s I’m Not Okay respectively, presumably hoping to osmose even an iota of the energy and strength either of those songs had. The problem, though, is that Escape The Fate just cannot muster anything of the sort, and I Am Human is reduced to their usually flaccid pop-metal once again. Resistance ‘s central riff might be decent (almost as good as when Muse had the same one on Uprising , as a matter of fact), but that’s the extent of the praise that can be awarded here. Elsewhere, songs like Beautifully Tragic and Do You Love Me find their intended metallic impact severely dulled by their impenetrable layer of gloss, and pretty much every instance of a flashy solo feels as though it’s been called upon to lend some vestige of reputability to their basic, lazy sound. But to see the real peak of Escape The Fate’s laziness, the track that needs to be brought into closest contention is the closer Let Me Be . On its own, it’s definitely not a good song, a twee, offensively inoffensive folk-pop number that has no business being here, but that’s also because it also featured as the closer on their last album. This is how much this band care about you, Escape The Fate fans, enough to reuse older material for no good reason other than to siphon any remaining pennies from anyone who’s stupid enough to allow them to. Sticking so closely to your derivative formula again is bad enough, but brazenly throwing in previously-released material with no explanation feels like such a scumbag move. If this album was forty-five minutes of Craig Mabbitt outlining his newly-devised pyramid scheme, it would only be marginally more of a scam than it already is, another useless waste of time and energy from a band who haven’t been relevant in years and who haven’t released decent material in twice as long. If I Am Human isn’t the final straw for this sorry excuse for a band, something is dreadfully wrong and needs to be dealt with immediately, because there’s no way that stuff like this can continue to be released. For fans of: Falling In Reverse, Asking Alexandria, Black Veil Brides Words by Luke Nuttall. ‘I Am Human’ by Escape The Fate is released on 30th March on Better Noise Records..
Recommended publications
  • Embodiment, Phenomenology and Listener Receptivity of Nirvana’S in Utero
    ‘WE FEED OFF EACH OTHER’: EMBODIMENT, PHENOMENOLOGY AND LISTENER RECEPTIVITY OF NIRVANA’S IN UTERO Christopher Martin A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2006 Committee: Jeremy Wallach Becca Cragin Angela Nelson ii ABSTRACT Jeremy Wallach, Advisor Despite the fact that listening to recorded music is a predominant form of human interaction with music in general, music scholarship often continues to classify listening as a passive form of reception in comparison to the “activity” of actual music performance. This thesis presents the idea that music listening is actually an embodied and agentive form of reception that varies according to different listeners, their listening strategies, and other surrounding contexts. In order to provide detailed analysis of this assertion, Nirvana’s 1993 album In Utero is the primary recording that this thesis examines, arguing that the album contains specific embodied properties that ultimately allow for embodied forms of listening and responses within the musical experience. Phenomenological reasoning and scholarship from popular music studies, history, cultural studies, and other humanities fields contribute to the central argument. iii ACKNOWLEDGEMENTS I owe an oversized thank you to the following friends and family for their support: Pat and Priscilla Martin, Veronica Martin, Linda Coleson, and my colleagues in the Popular Culture department. Aaron Weinacht and Patrick Blythe earn special thanks for their continuing willingness to participate in arguments and theories that, as always, range from prescient to ridiculous. Kandace Virgin also deserves my thanks and love for patiently tolerating my stubbornness and need to constantly work ahead, as well as my other idiosyncrasies.
    [Show full text]
  • Making Metadata: the Case of Musicbrainz
    Making Metadata: The Case of MusicBrainz Jess Hemerly [email protected] May 5, 2011 Master of Information Management and Systems: Final Project School of Information University of California, Berkeley Berkeley, CA 94720 Making Metadata: The Case of MusicBrainz Jess Hemerly School of Information University of California, Berkeley Berkeley, CA 94720 [email protected] Summary......................................................................................................................................... 1! I.! Introduction .............................................................................................................................. 2! II.! Background ............................................................................................................................. 4! A.! The Problem of Music Metadata......................................................................................... 4! B.! Why MusicBrainz?.............................................................................................................. 8! C.! Collective Action and Constructed Cultural Commons.................................................... 10! III.! Methodology........................................................................................................................ 14! A.! Quantitative Methods........................................................................................................ 14! Survey Design and Implementation.....................................................................................
    [Show full text]
  • Escape the Fate Eels Blackberry Smoke
    KACEY MUSGRAVES BEN HARPER & CHARLIE MUSSELWHITE COURTNEY MARIE ANDREWS BLACKBERRY SMOKE ESCAPE THE FATE GOLDEN HOUR NO MERCY IN THIS LAND MAY YOUR KINDNESS REMAIN FIND A LIGHT I AM HUMAN MCA NASHVILLE ANTI FAT POSSUM 3 LEGGED RECORDS ELEVEN SEVEN Grammy-winner Kacey Musgrave’s new album, Golden No Mercy in This Land is a blues record that recounts Although May Your Kindness Remain was Pigeonholing Blackberry Smoke has never been I Am Human finds Escape the Fate at their most raw, Hour, is a trippy twist of the Bee Gees, Sade, and Neil both Ben Harper and Charlie Musselwhite’s personal predominately written on the road it’s not a road record easy. Since emerging from Atlanta in the early ‘00s, real, and relatable. Produced by Grammy-nominated Young. “I was thinking about how there are different stories and adds to the sonic history of American like its predecessor. That is, it’s not so much inspired by the quintet has become known for a singular sound super producer Howard Benson (My Chemical masks that we wear that represent different sides of struggle and survival. “Everything I’ve ever done has Courtney Marie Andrews’ life on the road so much as it indebted to classic rock, blues, country and folk. This Romance, Adam Lambert), the record simultaneously us,” she says of the album’s theme. “None of them had one foot in the blues,” says Harper. “At this moment, is by the people she’s met along the way. It’s an inward fluidity has paid off handsomely, especially on 2015’s marks an evolution in the band’s sound and brings alone are me, but the Golden Hour is when they all I don’t think I could make a better record than this.” reflection on the connectivity of their stories and her Holding All the Roses and 2016’s Like an Arrow – but them back to the excitement of their roots.
    [Show full text]
  • 2018Verdant.Pdf
    Acknowledgements Thanks goes to all of those who helped with Verdant: all contributors of writings; Principal ​ ​ Ginger Gustavson; Assistant Principals Marie Eakin, Maria Edwards, Chenita McDonald and Robert Silvie; Librarians Mrs. Annette Williford and Ms. Pamela Williams; Captain Shreve’s English teachers Mr. Michael Scott and Mrs. Maureen Barclay. Staff Editors: Mary Catherine Douglas Georgia Hilburn Lonniqua James Faculty Advisor: Michael Scott Verdant 18 is a collection of Captain Shreve’s best student writing from the 2017-2018 ​ school year as selected by the Verdant editorial staff. In this collection you will find poetry, ​ ​ prose, and essays that have received recognition from the Scholastic Writing Awards, Seedlings, Artbreak, and the PTSA Reflections Arts Program. Entries are copyright of their respective owners and may be reproduced for personal or educational purposes only. For more information, please contact Michael Scott at [email protected]. 1 Table of Contents Poetry Living With an African Name………………………………………………………………………………………………….10 ​ Naima Bomani Tigerland, My Home Away from Home……………………………………………………………….…………………13 ​ Javin Bowman I am the Warrior……………………………………………………………………………………………………………….………….15 ​ Rachel Clottey The Memories of My Home ………………………………………………………………………………………………………16 ​ Rachel Clottey A Good Man …………………………………………………………………………………………………………………………..………19 ​ Karissa Cook Beating the Odds ………………..………………………………………………………………………………………………..…….21 ​ Karissa Cook The PC………………………...……………………………………………………………………………………………………………..…..22
    [Show full text]
  • Bullying: It’S WRONG! Leadership Group BY: Rhino Report Staff Bullying, Where Is It? Why Do People Do It? How BY: Cooper C
    RHINO REPORT November 6th, 2015 Ramsey Middle School Minneapolis, MN Volume 1 No. 2 WE Day Camp St. Croix! BY: Madison C. & Marley H. BY: Solveig J. Today (Tuesday) Ramsey Middle School, and other schools, The sixth graders are back from a went to the Xcel Center for WE Day. WE Day is an organization that three-day trip to Camp St. Croix and for the focuses on kids, like us, changing the world. WE Day acknowledges most part they enjoyed it very much. Let's the schools that help change their community and other places hear some of the sixth graders thoughts around the world. This year we talked about the 5 pillars of anonymously: charity, which are clean water, education, food, health, & just On a scale of 1-10 how would you rate this raising money. These things we’re going to be focusing on trip? throughout the school year and hopefully next WE Day Ramsey will Person 1: 9 be featured on the floor. Person 2: 8 WE day had many stars. Some of them include, singers Nico Person 3: 8-9 and Vinz, singer Natalie LaRose, singer Darren Criss, the Kenyans What was your favorite part of the trip? Boys Choir with Kardinal Offishall and for the final singer Ciara. For Person 1:The study group. speakers there was Chelsea Clinton, Lily Collins, Girl Meets World Person 2:KP duty with my cabin because we Star, Rowan Blanchard, Marlee Matlin, Henry Winkler, Dr. Mae were setting up not cleaning up. Jemison, the co-founders, Craig and Marc Kielburger, Dayle Person 3:The outdoor survival fort building.
    [Show full text]
  • 2855 NW Clearwater Dr, Bend, OR 97703 Summit High School
    Summit High School – Tuesday, April 10, 2018 THE CREST 2855 NW Clearwater Dr, Bend, OR 97703 Table Of Contents Cover: Photo by Morgan Tien 2) Table of Contents 3) Food Review: The Best Bowls Of bend 4) Artist spotlight: Grace Cooper 5) Literature spotlight: Devon Trepess 6-7) Album Roundup 8) Indie Films take center stage 9) Movie Review: The Florida Project 10) Brockhampton Spotlight 11) Fashion in Bend Backpage: Scholastic art Winners Art By Eva Merrill Food-3 BOWLS OF BEND Eva Merrill Crest Editor Global Fusion Located on the west side of Bend by Newport Market, Global Fusion is the place to go for tasty, gourmet bowls ranging from $13 to $17, depending on your choice of protein. The bowls are inspired by cuisine from all over the world, hence the name, so you can have a completely unique dining experience every time you go out to eat. Specialties include the Thai Coconut Curry Noodle Bowl, which can be served with salmon, chicken, pulled pork, or tofu, and can be vegan. Photo by H. Rogers Dakine Cafe Dakine Cafe, the sequel to the wildly popular shaved ice stand Dakine Grinds, is only a few months old and has already distinguished itself as a local restaurant staple. Located on Galveston in a beachy wood building, Dakine is the perfect place to go for smoothie bowls, avocado toast, or one of their signature espressos. The main drawback is the price, as most bowls cost around $11, but if you are willing to spend some extra cash, Dakine Cafe will give you a tropical treat you wont regret.
    [Show full text]
  • Gender Differences in the Global Music Industry: Evidence from Musicbrainz and the Echo Nest
    Proceedings of the Thirteenth International AAAI Conference on Web and Social Media (ICWSM 2019) Gender Differences in the Global Music Industry: Evidence from MusicBrainz and The Echo Nest Yixue Wang Emoke-˝ Agnes´ Horvat´ Northwestern University Northwestern University 2240 Campus Drive 2240 Campus Drive Evanston, Illinois 60208 Evanston, Illinois 60208 [email protected] [email protected] Abstract fields and beyond. While these gaps are well-documented in areas ranging from the workspace and wages (Blau and With digital music consumption being at an all-time high, Kahn 2000; Kuhn and Villeval 2013) to educational oppor- online music encyclopedia like MusicBrainz and music intelligence platforms like The Echo Nest are becoming tunities (Hausmann et al. 2009), entrepreneurship and cap- increasingly important in identifying, organizing, and rec- ital markets (Brooks et al. 2014; Kanze et al. 2017; Horvat´ ommending music for listeners around the globe. As a by- and Papamarkou 2017), as well as leadership (Ragins 1998; product, such sites collect comprehensive information about a Burke and Collins 2001), it is largely underexplored in the vast amount of artists, their recorded songs, institutional sup- case of the global music scene. port, and the collaborations between them. Using a unique Data about world-wide music production is becoming in- mash-up of crowdsourced, curated, and algorithmically aug- mented data, this paper unpacks an unsolved problem that is creasingly available in conjunction with the heavy use of key to promoting artistic innovation, i.e., how gender pene- music streaming services like Spotify, Tidal, Apple Music, trates into artistic context leading to the globally perceived Amazon and Google Play.
    [Show full text]
  • Pm Escape the Fate 02.11.2018.Pdf
    FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 02.11.2018 Escape The Fate im Februar erneut auf Tour Auf ihrem neuen Album „I Am Human“ setzen Escape The Fate immer wieder neue Akzente. Die Fachleute von metal.de verglichen es in ihrer Rezension mit einer Pralinenschachtel: Wer auf Schokolade scharf sei, der freue sich über jede Art von Füllung und habe mit dieser Platte sehr viel Spaß. Ein Urteil, dem man sich uneingeschränkt anschließen kann. Egal, ob hier Metalcore-Bretter rausgehauen oder Hardrock-Anleihen gesucht werden, ob akustisch ein Gang zurückgeschaltet oder doch das heftige Riff gespielt wird – mit ihrer stilistischen Vielfalt treffen die Metal-Legenden aus Nevada stets den richtigen Sound. Aber das ist man von den Jungs schon lange gewohnt. Keine Platte von Escape The Fate klang bislang wie der Vorgänger. Das lag keinesfalls nur am wechselhaften Lineup, das inzwischen sowieso erfreulich stabil ist. Nein, die Band lebt genau davon, sich auf keine Spielart des kreativen Hart-Schnell-Laut festlegen zu lassen und neugierig auf alles Neue zu sein. Dieses Mal seien sie aber über alle Grenzen hinausgegangen, erklärte Sänger Craig Mabbitt. Escape The Fate sind eben ein wenig wie ihre Heimatstadt Las Vegas: Überbordend, exzessiv, fordernd, leuchtend und hinter jeder Ecke lauert die nächste Überraschung. Die Jungs versprechen jedem das Glück und machen auf alle Fälle Spaß. Das konnte man bereits Anfang des Jahres feststellen, als die Band zum zehnjährigen Jubiläum ihres Durchbruchsalbums „This War Is Ours“ bei uns auf Tour war und nebenbei ein paar der neuen Songs live präsentierte.
    [Show full text]
  • Representations of Disability in the Music and Persona of Morrissey
    "IN OUR DIFFERENT WAYS WE ARE THE SAME": REPRESENTATIONS OF DISABILITY IN THE MUSIC AND PERSONA OF MORRISSEY Daniel Manco A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Committee: Jeremy Wallach, Advisor Becca Cragin © 2009 Daniel Manco All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disability studies, an interdisciplinary field of relatively recent provenance but growing prominence, investigates the social, political, economic, and cultural factors that contribute to definitions of disability as they emerge within specific but ever-shifting historical contexts. Cultural disability studies, a lively subfield, takes particular interest in the role that representations of disability across a variety of media play in shaping both individual and collective (architectural, attitudinal, educational, legal, and occupational) responses to the needs of disabled persons. Despite its centrality to human expression, however, music in general, and popular music specifically, have seldom attracted the attention of cultural disability studies scholars. This thesis seeks to help redress this omission in the cultural disability studies literature by examining representations of disability in the music and persona of Morrissey, singer and lyricist for the seminal 1980s indie rock group The Smiths and, in the two decades since their break-up, a successful solo artist in his own right. Borrowing concepts from music theory and psychoanalysis, I first consider the ways in which the paralinguistic elements of Morrissey’s music, and the discourse that has surrounded it, can be understood as representing disability and articulating a host of attitudes thereto.
    [Show full text]
  • ASCAP/BMI Comment
    Stuart Rosen Senior Vice President General Counsel November 20, 2015 Chief, Litigation III Section Antitrust Division U.S. Department of Justice 450 5th Street NW, Suite 4000 Washington, DC 20001 Re: Justice Department Review of the BMI and ASCAP Consent Decrees To the Chief of the Litigation III Section: BMI recently alerted its community of affiliated songwriters, composers and publishers to the profound impact 100% licensing would have on their careers, both creatively and financially, if it were to be mandated by the U.S. Department of Justice. In a call to action, BMI provided a letter, one for songwriters and one for publishers, to which their signatures could be added. The response was overwhelming. BMI received nearly 13,000 signatures from writers, composers and publishers of all genres of music, at all levels in their careers. Some of the industry's most well- known songwriters added their names, including Stephen Stills, Cynthia Weil, Steve Cropper, Ester Dean, Dean Pitchford, Congressman John Hall, Trini Lopez, John Cafferty, Gunnar Nelson, Lori McKenna, Shannon Rubicam and Don Brewer, among many others. Enclosed you will find the letters, with signatures attached. On behalf of BMI, I strongly urge you to consider the voices of thousands of songwriters and copyright owners reflected here before making a decision that will adversely affect both the creators, and the ongoing creation of, one ofAmerica's most important cultural and economic resources. Vert truly yours, Stuart Rosen 7 World Trade Center, 250 Greenwich Street, New York, NY 10007-0030 (212) 220-3153 Fax: (212) 220-4482 E-Mail: [email protected] ® A Registered Trademark of Broadcast Music, Inc.
    [Show full text]
  • Chronicles Caught Somewhere Between GUY and GAY
    ys The Wussy Boy Chronicles Caught somewhere between GUY and GAY Issue #1 oundgarden Hair • Rock Star Eyes • Wussy Bo oundgarden Hair • Rock Star Eyes Wussy God is a Mean Drunk • Kick-Ass S FEATURING: a personalzine by r. eirik ott The Wussy Boy Chronicles #1 by R. Eirik Ott © 1999 [email protected] http://www.brokenword.org http://poetryslam.livejournal.com The photos in the National Poetry Slam article were taken by David Huang and borrowed from www.poeticdream.com. Graphics for the “Is a Wussy Boy / Is Not a Wussy Boy” were borrowed from various places around the Internet. Everything else is the fault of R. Eirik Ott, unless otherwise indicated. INTRO So, hereʼs my new zine, The Wussy Boy Chronicles. Iʼm in Reno as I type this on my Macintosh Quadra 630, listening to Tuataraʼs first album and the sound of my kitties playing just outside my window. Itʼs early in the morning for me, like 10:14, and a nice breeze is floating around my room. My summer internship at the daily newspaper is almost over (thank god). I always wonder if anyone is going to give a shit about these zines, but Iʼm going to give it another try anyway. Iʼve been doing zines for quite a while now, since at least ʼ93 when I started Fencepost with some friends in Bakersfield. I went on to Thrust Magazine, then a series of one-shots called Rants, Screeds, Diatribes and Other Ephemera (fea- turing titles like Big Daddyʼs Makinʼ Biscuits and Tongue Ballet in my Bunghole).
    [Show full text]