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 rant of the decade (meet the newbie) 
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Joined: 19 Nov 2012, 18:43
Posts: 13
Post  rant of the decade (meet the newbie)
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so this is me, always looking to meet new people. find me on facebook or add me on twitter @RyanBartek -- also looking for some musicians to get a crust/grind/thrash project going in Portland, Oregon. Message me! Cheers!! you can get all my music/books free here: http://ryanbartek.angelfire.com/blog/


I wanted to begin with an exploration into the origins of your name cited on your MySpace profile. According to this page, it is taken from one of Poland’s oldest, most renowned oak trees, growing in the Swietokrzyskie Mountains close to Kielce. Its age has recently been established as 625 years. Is there any historical accuracy to this?
Actually Bartek really is my last name -- I posted the bit about the tree on Myspace as a ludicrous attention-grabber… For the most part the only ones who calls me “Ryan” are my mom or people at work so I can maintain that Clark Kent anonymity. Whenever I get “Googled” I usually get fired because my career is one of instant alienation to “normal people.” [Amusing fact: I recently found out that Bartek is Eskimo slang for “alcoholic” & Slavic slang for “lunatic.” I discovered this because some Eskimo kid from a tribe in Alaska had a Myspace account, and on this account were comments from his other teenage Eskimo friend. His buddy was saying “hey there crazy dude, you were a real Bartek at the party last night.” When I emailed the kid what the fuck that meant, he pleaded with me not to tell his parents because Bartek is slang for a total drunk ass fool & didn’t want to get grounded for underage drinking. Serious, absolutely serious -- some random Eskimo kid. Go figure…]

How did you think up that description of a Bartek as an ancient oak tree from Poland? Describe the extent of the attention it received since you added it to your MySpace bio? How often do you invent outlandish explanations such as the story of your name?
I typed my name in Wikipedia and the famous oak tree thing is what came up. You’re actually the first person to bring it up and until then never thought much of it, or that anyone would take it seriously. But I swear, the Eskimo thing really is real... I have other aliases too – Benedict Badoglio, Jack Cassady, GhostNomad, The Propagandist... Benedict Badoglio is my pseudonym in SASQUATCH AGNOSTIC. Since I was rebelling against my past, I wanted to symbolize that betrayal. Therefore you splice Benedict Arnold & Pietro Badoglio (the general that overthrew Mussolini in 1943). Same with Vidkun Vichy, the drummer of SASQUATCH AGNOSTIC (i.e. ”two Quislings in one”). Some might get the wrong impression and think there is a hidden fascist message there, but I assure you, it’s all tongue in cheek…. GhostNomad has been my tag both on the road and in squatter world, like a secretive “Killroy Was Here.” There are dozens of venues/bars/rest stops where you might just find a “GhostNomad Lives” or “GhostNomad was here” scrawled in sharpie. There have been a few others that have used this pseudonym as well – traveling journalists I have met that were either created or discovered in the wake of “THE BIG SHINY PRISON.” Kind of like Zorro, you know? One passes it down to the next… The Propagandist (or “Il Propagandist”) was from the mythology of A.K.A. MABUS. I was this dictator-like character attempting to materialize the empire of “MABUSVANIA.” It was like a GrindPunk version of NSK (Neue Slowenische Kunst, a Slovenian Art Collective I’m fascinated with). With that framework in mind, under this alias I wrote a 56 page manual called “The Pan-Tribal Socialist Manifesto” (or “The Mabusvanian Conspiracy”). The Nostradamus prophecies talk about MABUS as the third & final antichrist – that MABUS was not a person but rather a collective group of forces (i.e. my band) that would promote an ideology extremely disastrous to mankind. So I made an ideology to coincide with the myth. This manual was released on 6.6.06 (June 6th, 2006) and can be viewed/downloaded here: http://www.scribd.com/doc/37119105/THE- ... -MANIFESTO --- It is another excellent example of career suicide in the Detroit days. Very few people “got it,” per se…

How exactly is “The Pan-Tribal Socialist Manifesto”/“The Mabusvanian Conspiracy” a play on the Nostradamus prophecy of the third antichrist? What nerves were you seeking to hit by adapting the prophecy into your writing?
The Nostradamus Prophecies speak of the end times – that first would come ALUS, second MABUS. That whatever MABUS was the symbol of the end times, and whatever MABUS was would also have an ideology and would take Monday as the unholy day of rest. So we built an entire mythology out of that, practicing exclusively on Mondays. The joke following my Detroit media finale, was to take the impression that I was an ego-freak asshole (I wrote for the big local weekly with the cigarette & titty bar ads so therefore I was a sellout, you know?) and play on it like a bad guy wrestler would in a pre-match promo segment while promoting myself as this absurd dictator-like character via relentless press release. And thus declaring everything left of my “media empire” as “The Alus Republic.” And thus changing FILTHPIMP to A.K.A. MABUS. And thus releasing the “MABUSVANIAN CONSPIRACY” on 6.6.06. And thus recording an album called “Lord of The Black Sheep” (a.k.a. a fancy way of saying “SATAN”). I felt it was a sure fire way to clear my name, yet no one got the joke, and this brilliant prank dug a grave for my career so excessively deep that I’m beyond proud of its meretricious value…

The “Mabusvanian Conspiracy” is one of the finest pieces of art I’ve ever produced, yet it’s been seriously misunderstood. It is a highly detailed work of propaganda at every level, which is its artistic frame; it is also literally a thesis on propaganda as well. Even though A.K.A. MABUS was tongue-in-cheek, the message of “The Conspiracy was (and still is) my ideological worldview in terms of the underground, the counterculture, “the revolution,” per se. It shows how propaganda dominates our lives and can be utilized to alter reality as well. It presents the idea of a unified “Pan-Tribalism” through the recognition of shared values. It looks daunting, overwhelming – but that’s all part of the gag. When it boils down, “The Conspiracy” has one major message, and that message is anti-fascist to the core…

Now, disclaimer time – I DO NOT in any way support/sympathize with Nazi gibberish. Very much against it, and so is “The Conspiracy.” Still, it must be mentioned that this work was borne from a study of totalitarianism – in particular, these propaganda states built entirely upon myth. WWII was the first true War of Propaganda and from it came the greatest achievements ever made within this medium. Dubious an honor that it may be, Hitler ranks among the greatest of propaganda innovators. Historians will never officially approach him this way, but when you look at Hitler in terms of Pagan/Occult, it changes everything... Magick is simply the art & science of using the willpower to transfigure reality – and propaganda itself is politicized magick. Hitler knew this very well, developed it fanatically, and became one of the most powerful black magicians in history. I’m convinced that the blackest Grimoire ever to exist was Mein Kampf. Reading that for the first time, I picked up quickly the “Hitler Code” – an almost mathematical brainwashing in-between every line from the very first sentence… So this revelation kick-started a period of intense study for me & one thing leads to another. Months of obsessive cabin fever research later & I emerge the Anti-Hitler, eventually dropping this bombshell on 6.6.06. “The Conspiracy” is then generally ignored, flies over heads, or somehow (despite its vicious anti-fascist sentiment) ends up getting me labeled some weird fascist…

You profess to be an underground/counter-culture journalist as well as a musician. From your own personal experiences, how much or how little of a rarity is an extreme metal musician and a writer of subversive literature, to coin a phrase from A Clockwork Orange? At what stage in your life did you become a journalist? Were there any writers who particularly inspired you?
In my opinion it seems that every writer wants to be a musician, and every musician wants to be a writer. The problem is that when you have someone extremely good at one of those art forms, they are totally captured by it & it’s tough to break away. It’s like what’s more natural – writing/reading/researching 10 hours a day or playing guitar for 10 hours a day? At some point it seems one is the “hobby,” as opposed to the “main mission.” As for myself, I’m either captured totally by one or the other & give in completely – more often the writing aspect, generally speaking. However, I’m at that turning point where music is the focus right now. I can shred on guitar and do many interesting things, yet at the same time I don’t claim to be a Trey Azagoth or Yngwie Malmsteen. I can’t really fly all over the fret-board doing insane solos & super-finger-stretching chords. Still, I am fairly advanced & quite versatile… I find that authentically “good writers” are sprinkled everywhere, but more so prevalent in Grind/Crust/Punk or heady Prog stuff, not so much the death metal world or “brutal” mosh stuff. The black metal scene has a tendency to turn out

some weird, surrealistic writing – but at the same time a good chunk is this overly self-important, Neitzschean will-to-power elitist stuff… My whole ordeal is more of a rarity. I’m kind of hopped up on my own vibe with very obscure influences, but please understand that I’m out to enlighten & inflame, not stroke my ego. My quest is to present the naked man & the ugly truth, and you can take that in so many directions. I try to keep that 60’s “counterculture as a unit” belief but am smart enough to realize it’s ultimately dystopian. Hippie dippie gives way to strength of combined cynicism, dig?
As to the larger question you ask, I felt early on that journalism was the most sustainable trade (artistically & economically) I could utilize to exist in this world. Basically the only “real job” I could think of performing career-wise without wanting to shoot myself. Of course we’re talking 1998 (age 17) when I made that decision, long before the Neo-Great Depression killed the market (as well as print media’s inevitable collapse to the Internet). Even back then I knew the Web was going to wipe it all out in due, so it was either A) waste my 20’s going to college for 8 years just to get some (now totally useless) degree with a $100,000 student loan price tag or B) find an internship somewhere & make it happen DIY. That is precisely what I did, having published hundreds of pieces over the past decade through magazines such as METAL MANIACS, AMP, PIT, HAILS & HORNS + dozens of other print & online zines… You know, I was never some nerdy little kid studying books – I came from an extreme metal/radical punk background in Metro Detroit where it was always total war against shit culture at large. Journalism was the main platform I felt I could make significant change. My other adventures in writing, music, art – all of it intertwines as a wide-spanning, interconnected body of work…

Concerning your reference to the “counterculture as a unit” mindset of the 60s, in what ways do you perceive it as dystopian? Did the journalistic movement of that time really generate any positive change in society?
Yes, they did, and not just journalism but an entire spectrum of political/social realities. Just look at the difference between the Eisenhower 50’s and our current society. What is mainstream/acceptable today would be insanely shocking back then. However the extremes have gone to such ends that one hardly blinks... If one really wants to understand how the 60’s counterculture failed, I recommend the biography “Timothy Leary” by Robert Greenfield. With Leary as the central figure, that manuscript runs the gamut of every notorious underground persona of that time and how they interact; it’s a very tribe-eccentric study. The reasons that era crashed is well documented, yet nothing truly went into remission – it just fractured into innumerable splinters… When I speak of the counterculture of today, or when I speak of my views as a “counterculture internationalist,” I simply refer to “throwing in my lot” with the freaks in a broad, historical sense. The outsider has always been there, the underground has always existed – only the societies have changed. It’s not like “rock culture” started with Elvis, or Sex Pistols, or Black Sabbath, etc. It has existed since the dawn of man, with any individual living in opposition to “the machine” of whatever era they inhabited. Only in the last century did this seem to get codified by “music scenes.” Where I feel we are today is an even stronger position then what the freaks had accomplished in the 60’s, even if few recognize it. Thanks to the internet, what was once super-arcane is now common knowledge to the average 15 year old metalhead with a laptop. Problem is it’s all been done -- people are burned out. These days there is excessive apathy, but at the same time most seem to know what the root problems are. Plainly speaking, they get “what’s up.” That’s why I say that today we have a unity through cynicism, unlike the hippie-dippie flower power vibe of the 60’s where they believed they could change the world. Today, we know the world is rotten to the core and no amount of good will (or LSD for that matter) will change it. There will be no grand revolution. But still, here we are, going down swinging with fangs bared to the bitter end – harder, faster & more extreme then ever before…

As an underground journalist you have authored two novels, “The Big Shiny Prison” and “The Silent Burning.” They have been exposed through such publications as Pit, Metal Maniacs, Hails And Horns and AMP. To break the ice in discussing your journalism career, to what extent have these publications helped to establish you as a noted journalist in the metal community?

I lived in Detroit until age 25; I’d been in bands, worked on hundreds of shows, wrote for a host of zines (obviously) and put out a book in 2005 called “THE SILENT BURNING” that gained some notoriety in the underground. “THE SILENT BURNING” is not a work of journalism; it’s a quasi-anthology that I wrote for self-therapy – a very surrealistic, harsh black comedy & commentary on bipolar depression. From age 17-20 I went through a lot of heavy shit & used that book as an outlet. In the early days (like 2003, 2004) there were limited DIY Kinko’s editions I industrial-stapled together & sold at shows. One of these copies made it to the right guy by proxy, and a small print deal was inked. The book was officially released on January 5th, 2005 through Elitist Publications with a 300 print run. The next week it was pulled from local stores because of its raw content. I also take pride in the fact that “THE SILENT BURNING” was blackballed by the corporate contacts at both Borders Books AND Barnes & Nobles, who flatly refused to distribute it (they bought all of the Elitist titles for warehouse stock). Elitist slowly backed off promoting me, and once the book fully circulated through the Detroit scene, I’d offended/pissed off everyone in that world for one reason or another -- quite a charming feat indeed, this titanic of alienation… Funny enough it is because of that very book I got the gig writing for Metal Maniacs, since (editor) Liz Ciaverella really dug it. It was crazy, because I had zero ties with them – they just took it upon themselves to insert a half-page ad for FREE with the cover blown up & a quote from the first paragraph + website/ordering info. It was like, “this thing is so devastatingly cult we don’t even need to bother reviewing it”– and it must’ve been equivalent to a $1500 ad space. So I wrote Liz and asked if I could do a few reviews, and she just sic’d me loose like a mad dog to do whatever I wanted. And then on the AMP/HAILS & HORNS side of things, the other major female editor in metal magazine universe (Lisa Root) was doing the same for me. It was like “just send it in and we’ll print it.” Anyway, by December 2006 I was desperately unhappy with my situation so I threw in the towel on Detroit, quit my grindpunk band A.K.A. MABUS & hit the road as a traveling journalist. Throughout 2007 I was all over the USA reporting for mags & simultaneously writing a book about the American underground called “THE BIG SHINY PRISON.” Once I completed the final draft in June 2008, I decided to take a breather. I’d just moved to Seattle and was trying to plant roots & build foundations. One thing leads to another… By February 2009 I was ready to tour as a freelance journalist again but the Wall Street Crash completely destroyed the market & Metal Maniacs went down with plenty of others (as well as any rational hope of getting “PRISON” published). So I did two 6½ week national USA tours with punk/funk/weirdo band Downtown Brown as a documentary filmmaker/acoustic opener (watch the doc here: http://www.youtube.com/user/sasquatchagnostic ). In September 2009 I began writing a new book about the past 8 years called “ACROPOLIS NOW” and in November decided to release “THE BIG SHINY PRISON” as a FREE PDF Download. It is my Magnum Opus of extreme journalism. I am now actively plotting the European sequel to take place Summer 2011. Anyone interested in either of these books, “THE BIG SHINY PRISON” & “THE SILENT BURNING” are FREE PDF Downloads via: http://ryanbartek.angelfire.com/blog/.

Do you keep in touch with Liz Ciaverella? Has she been floored by your written reviews and articles for Metal Maniacs?
I get an email or Facebook howdy from her now and again, but I haven’t seen her in person since 2007. She was always very supportive of my work & gave me free reign to rant whatever mad dog gibberish I felt, so that speaks volumes. Both Liz & her husband Dave Brenner are really cool people -- very down to earth, friendly & passionate about their activities. When I stayed at their place in Brooklyn, I was floored by their CD collection. It was literally an entire wall from top to bottom, like 14 feet high & 40 stacks across. I’d never seen anything like it… You know, Dave is like the Wizard of Oz of heavy metal PR men. That guy pulls so many invisible strings on a worldwide level its unbelievable -- and it’s all connected to this expertly-orchestrated propaganda war he’s running. When I met him in person he was stuffing all these boxes with CD’s for troops in Iraq/Afghanistan. He’s like “this album will sound great in a tank.” The guy has been sending 100’s of discs at a time. So I helped out as well & any military guys I knew I had them get in touch with him. Even if I don’t ideologically support the war, I still feel better knowing that some poor schmuck getting shot at in the middle of the desert at least gets a few Slayer records to keep him sane. Least I could do…

How many major publications have you reviewed CDs for besides Metal Maniacs? Do you keep any back issues of the magazines in which you have been published?
PIT Magazine, Real Detroit Weekly, Hails & Horns Magazine, The Record (Detroit), Jam Rag (Detroit), AMP Magazine, PivotalRage.com, Live4Metal.com, TheGauntlet.com, UnholyScriptures.com, Metal-Mayhem.co.uk, Hymns of the Needle Freak, The Satanic Inquisition, The Seattle Sinner, Alibi Weekly (Albuquerque)… There are others but they aren’t coming to mind… I saved all clippings and in the distant future I plan to release a collected anthology. But this is a lot of work to type out and everything is in storage in Michigan...

Describe some of your personal experiences that helped shape “The Silent Burning” and how this work offended the scene in Detroit and the mainstream publishing companies you mentioned?
Well, I should say first off that Elitist Publications was very tiny, nowhere near mainstream, and I never had any illusions of “The Silent Burning” becoming some bestseller. When shopping “The Big Shiny Prison” I did have some larger record labels interested, some big name literary agents, but once they actually read it they either thought it was way too raw, were weird about promoting other peoples bands, or simply had no idea what to do with it. That’s just what happens when you do something that can’t be pigeon-holed… But back to the point: “The Silent Burning” was my personal no-holds-barred way to cope with bipolar depression. I go back to the kid I was that started writing it, and what I find is an extremely angry young man wanting to exorcise his demons. I also wanted to write the ultimate anti-speech – like this hand grenade of grim information that would act as a sledgehammer to the skulls of squares. So you have a very organic anthology that intertwines about 70 pieces in three main sections – the first third a full-on attack on endless human stupidity, a sort of in-between purgatory, and finally a descent into pure self-destruction… At the time of its release I was throwing 2-3 shows a week, had a weekly metal/punk column in the big weekly, getting a band rolling & was also the music editor at another free monthly. I was very popular in terms of media & the underground scene, since every other local journalist was covering the terrible White Stripes rip-off “garage rock” scene that emerged once they got huge. Other newspapers in the city, radio DJ’s, etc – they’d basically promoted me & put me in this position where I’m the “voice” of the scene in their eyes, and they are all smiles & everyone thinks I’m Mr. Cool. And then the book came out. And then they actually read it. And then things got weird, real fast… “The Silent Burning” hammers on every uncomfortable topic possible – Columbine, drug abuse, occultism, police brutality, 9/11, etc – plus it is absolutely devastating in its attack against Christianity. A good portion of the book also deals with monologues coming from scumbag characters, such as my personal favorite “Bob Sagat Raping The Olson Twins On PCP” in which the father of a four year old boy sits down at his sons bed, explains to him what life is really about, and then proceeds to commit suicide with a double barrel buck shotgun while making the kid watch. That’s a high point. That’s comedy…

While traveling the U.S. reporting freelance and writing “The Big Shiny Prison,” did anything particularly inspire what was penned for that novel? Recount any critical and lay reactions this book received since its publication.
As far as critical reaction, I’ve had very strong reviews. Without name-dropping anyone, I will say that I’ve had a number of musicians/artists I was inspired by as a kid email me and tell me how good it is, how they’ve forwarded it to all their friends. Random people write from all over the world saying I’ve authored one of the best books on heavy metal ever composed. One college student from Berkley said that everyone in Frisco had it, that it was a “hot topic” in The Bay Area, and that it had circulated the journalism wing of that college causing them to alter their course of studies… “Prison” stretches on for 293 days straight, and it is a portrait of life as it happens. Everything was inspiration & where others would flake, I refused to give up. I lived on $2 a day, ate out of garbage cans, coasted through the nastiest squats imaginable, hung with some of the biggest freaks in the country and weathered many extremely dangerous situations. I slept on the street, in parks, in alleys because it was “do or die” for me. I just kept following the signs, moving along with the inertia. Much like “THE SILENT BURNING” was conceived as this grand anti-speech for the ages, “THE BIG SHINY PRISON” is the next logical progression – but taking on the underground at large and getting the most extreme perspectives imaginable recorded. The most important inspiration though was the end result -- to try and make people awake from their slumber, to realize their own potential and the potential that exists around them if they just take it upon themselves to make it happen instead of waiting for someone else to do it for them. I also wanted to show, quite plainly, that all of these fringe cultures in the USA are very much interrelated and that we are all part of something larger then we generally recognize. And hopefully, just maybe, they’ll read my book, get off their asses & do something phenomenal…

Considering all the information you have provided about “The Silent Burning” and “The Big Shiny Prison,” which passages in these written works do you suspect are most likely to shock and horrify readers into following similar literary paths?
I always think of the movie Se7en – “In order to get people’s attention, you just can’t tap them on the shoulder anymore -- you have to hit them with a sledgehammer.” Still, I try not to overkill shock for shock’s sake, albeit I am quite the fan of doing so when appropriate… All of my books have a very controlled, serpentine undercurrent to them – lots of invisible foreshadowing, a great deal of psychological string-pulling. I aim for a sort of aesthetic “seasickness,” because awkwardness to me is the true heavy. I try to stir up a natural sense of alienation in my readers, but a in vague sense which is far more creepy because you can’t tag a definition on it… “THE SILENT BURNING” is pretty blunt & uncompromising – very in your face and exceedingly awkward. The slimy discomfort which arises is by virtue of the scattered juxtaposition of internal impressions. And the entire thing from start to finish if like getting beat by a crowbar of information… “THE BIG SHINY PRISON” on the other hand is “autobiographical nonfiction” – the fact that it’s real and the world I describe exists out there is the creepiest of all, I think. I do mean that from the perspective of the North Dakota housewife, or the Tea Party Republican, or the Deep South Evangelical type, you know? In “PRISON” the unsuspecting reader will find distinct evidence of a country gone mad, and in this sprawling complex we continually run across jaw-dropping stories of life in the fringe. The ever-intense interviews come rapid fire. And if you have any inclination of the extremist fanatics that litter these pages, you will be ever bemused.

Getting back to the subject of propaganda, in the previous century there were three major novels covering manipulation of the masses in one form or another: the aforementioned A Clockwork Orange, Nineteen Eighty Four and Brave New World. Do you see any areas of modern society that reflects upon the possible future societies imagined in those novels?
Absolutely. All the major themes/ideas of these works constitute hard realities within the societies we dwell. Perhaps they are not as directly in our faces as the worlds of those books, but by all standards we are subjected to highly-crafted propaganda in all forms of daily life – socially, politically, economically… Daily we are witnessing an ever-increasing globalization of authority at all levels which continues to consolidate power. The New World Order is very real – just look at Bohemian Grove. Once a year the entire apparatus of global & state power, capital & finance go to the redwoods of California & worship a 40 foot owl statue that some claim is MOLOCH, the Babylonian god of war & human sacrifice. They wear Druid outfits & burn effigies & every USA President it seems (except Obama, surprisingly) has participated in this ritual. I never took this seriously until mid-2010 when I actually saw the live videos & did deep research. I just always thought it was some ludicrous, speculative conspiracy freak assumption. It’s abominable, terrifying, and I think that all politics & journalism simply falls flat without recognizing this. But as you know, the mass media is controlled by a very small number of men who are hand-in-hand with innumerable corporate interests, state interests, etc… 2011 will be a very interesting era in terms of this because we are entering a period of steadfastly increasing authoritarian rule and an ever-growing surveillance state. Every nightmare Orwell had is stark reality at this point, even if we are still given the illusion of freedom. What scares me the most is that in general people seem to understand this and just shrug it off & go back to playing Nintendo. They still join the Army. They still allow themselves to be herded like cattle… If there is any one thing that I am most proud of, it’s that in the end I know I will leave this world with my hands clean of their poison…

One major recurring theme in A Clockwork Orange, Nineteen Eighty Four and Brave New World centers on the use of language as mass propaganda. Where do you see language used as such today? Are there any present-day novels you know of that contain the same reflections on society as those three works?
Those three really set the blueprint for all such literature. It is my belief that all speech, even basic communication, is a form of propaganda. There doesn’t need to be a political or ideological motive – “reality” in sum depends upon the “force field of propaganda” (for lack of a better description) that surrounds us at every conceivable level within human interaction. Keep in mind that no child in the USA is illiterate – they are “reading” television. They symbolically “read” all of the foreshadowing, the actors’ movements, the hidden messages that camera angles suggest. At a more direct level (the general definition of propaganda) our newspapers, telecasts, etc are ripe with control. Just look at the average grade school text book of any field – history is written by the victors. It’s like one horrible confirmation of John Carpenter’s “They Live.” But you don’t need extraterrestrial sunglasses – all you need to do is wake the fuck up…

What of the dystopian-themed movies that were prevalent in the early to mid-seventies such as THX-1138, Logan’s Run, Rollerball, Death Race 2000 and Soylent Green? Rollerball and Death Race 2000 in particular focused on violent sports as entertainment. Any reflections on modern society you see there?
I love these films as well, and can see obvious parallels. Speaking of “Soylent Green” – that end scene with Charlton Heston running through the city freaking out, realizing the international cannibalism – this year I kept feeling as if I was that character at that very moment in response to Corexit. If this is the first time you or the readers are hearing about this, brace yourself, because I am utterly convinced “The Great Panic” will occur in the near future... In short, the BP Oil Spill -- here’s the real facts. They drilled into the crust of the Earth so deep that when it shattered, it did so for miles around at a level we can’t detect. The real figure is nearly a billion gallons of oil shot out and despite this “plug” the ocean floor is still seeping raw crude and cannot be stopped. The ocean floor could cave in at any time and create an instant tsunami that would wipe out all of Florida in minutes… For starters, BP dumped nearly 50 million gallons (most likely 200 million) of the dispersant Corexit 9500 which is an experimental chemical that both obliterates the oil and “eats it” at the same time c/o a synthetic bacteria created in the lab. When Corexit touches oil, it automatically makes the crude 1500% more lethal by releasing its latent properties. All of this has coagulated underwater into a lethal jelly blob that is roughly 22 miles large and is detected 50 miles from the coast of Southern Florida… First issue is that this chemical (+the crude oil/crystallized methane) has been raining down on the Gulf populations killing plant life, animal life, permanently altering the genetics of all ensnared life forms. This rain has already reached into Canada. Corexit is also a confirmed neurotoxin, in all probability more dangerous to human contact then Agent Orange. Second, the FDA has been allowing up to 500 PPM on the food being shipped out, which all Americans have been eating ever since, despite the confirmation that Corexit works on red blood cells the way AIDS works on white blood cells. Third, 79% of that oil is resting at the bottom of the ocean floor and will be “thawing out” by next summer, rising back to the surface en mass. The stark reality is that hundreds of thousands are now sick & dying, especially the cleanup workers – bleeding from their eyes, puking blood, boils all over the skin like lepers. Hospitals are filling up &. birds are dropping from the sky. Day by day I follow this. And the Obama administration, in response, has enforced a band from any media outlet to cover it in which the penalty is a $40,000 fine & felony charges. It’s only a matter of time before this explodes. The really fun part is that Wikileaks has hijacked all the internal BP memos and this constitutes a big chunk of their secret “insurance file.” If no one believes me, please read the best coverage on the net ( WWW.FLORIDAOILSPILLLAW.COM ) or my personal report on the subject (an excerpt from my new book “ACROPOLIS NOW.”) here: http://www.scribd.com/doc/39720625/ACROPOLIS-NOW

There are several full length movies circulating on the internet implying the emergence of a new world order: Zeitgeist, Endgame and The Obama Deception being a few. Have you seen any of those or others of this kind that interest or concern you?
The problem with Alex Jones is that he is so over-the-top very few “serious Americans” can take him seriously. Secondly, the other problem with Alex Jones is that we are now at the point where even the craziest, most fever pitch whackjob calling into his show is probably right about everything… I met Obama, and that moment is in “THE BIG SHINY PRISON.” I thought he was on a roll (in terms of a USA president) until the BP OIL SPILL. That was his downfall, but no one knows it yet. And everything after he has since bungled by allowing himself to be a propaganda victim & by stupidly spending tax payer money on his little vacations & publicity stunts. He is the only president ever not affiliated with Skull & Bones, Bohemian Grove, etc. That gave me hope. But despite all that, he went in trying to be some shining knight in an unbelievably corrupt system which diminished him to irrelevancy. He sold out, as they all do -- yet he still accomplished more then Clinton, the Bushes, Nixon, Reagan, etc in his first year in office. But we all know he’s just frantically polishing the brass on The Titanic… All I gotta say is Julien Assange, please release your damned insurance file and end this nightmare. Then we’ll see the entire propagandic illusion crafted around our past 50 years crumble to irrefutable ruin. Let the real criminals pay for their crimes…

How helpful has the Internet been in spreading your writings to readers who were previously unaware of them? How much potential is there in the internet to reach possibly like-minded readers who might be inspired to write their own books?
I was 14 years old when I got the internet, and the second its impact dawned on me, I expected a revolution. Instead my age group used it for video games, iPod’s & Facebook... As a writer, I know how lucky I am. What would Plato or Socrates have done? I can feel them turning in their graves, screaming: “Use it boy, take it for all its worth!!” So I listen to the chants of the dead & I’ve put so much into promotion/networking/propaganda it is staggering…

“THE BIG SHINY PRISON” is a book for those who generally don’t read, and also an introduction to the underground for those who have no knowledge of it whatsoever. It’s not a “music book” either – it’s authentic literature. So it was the challenge of trying to get a publisher to put this in plain site of its audience. I figured if it got somewhere like Borders or Virgin or Hot Topic or something and was just set on a table, and random people just opened it up & flipped through it, it would get word of mouth & sell copies. Of course that never happened. So instead I put it out for free and spent hundreds of hours emailing it to every corner of the global underground – media, band, writer, artist or otherwise. I had to do it myself, and it’s been a gradual, organic rebound…

In this respect, putting it out like this did more to get it to my direct audience then if I ever tried to sell it, even for like $2 online somewhere. And I certainly did better then if some NYC lit agent shitbag tried to sell it & rip me off… Writing takes a long time to perfect, and a project like this takes serious commitment. That’s why I recommend not holding out & distributing your work for free (or extremely cheap). But if you want to be able to work the press circuit, you also have to know your propaganda & how to be crucially effective – that or spend a few grand on a reliable PR person to do the dirty work for you…

In your career as a musician you were involved in two bands, A.K.A. MABUS and SASQUATCH AGNOSTIC. Tell the readers of these bands, how actively they were involved in the underground, and how many albums they released by?
Whereas A.K.A. MABUS was “the” full-time band of my early days, SASQUATCH AGNOSTIC goes with me everywhere, since it’s a solo grindcore project. Yet for history…

SASQUATCH AGNOSTIC released the “COMPLETE MAMMALOGRAPHY” as a free download on July 4th – 41 tracks of grind terrorism. This disc is 3 albums combined – “Thunder of The Yeti,” “GRINDHARMAGEDDON” & “In The Catacombs of Charenton.” The idea was to make a vicious, horrific thing to listen to – pure audio-grind vomit. You know, Anal Cunt territory, like this fucked up, mutant record you get in a tape trade with one of the torrent-swapping basement trolls. So we did the “grind karaoke sessions” – drummer Vidkun Vichy & I wrote 20 tracks and then had 30 people come over and slam many gallons of Jim Beam & Jack Daniels. Then we lured them into the studio one by one, handing them random gibberish on paper and forcing them to scream grindcore tunes (the “In The Catacombs of Charenton” demos). Months later we got serious and made “Thunder of The Yeti,” and another year later we hammered out “GRINDHARAMAGEDDON,” the world’s first Zen Buddhist Grind album (in which I do all the vocals). There was a MySpace site created ala BLOODFREAK where I claimed SASQUATCH AGNOSTIC was this legendary, unknown band from Northern Michigan that predated both Repulsion & Napalm Death. This ridiculous, over the top, extremely elaborate bio was posted that some actually believed was true. There was this whole bit about touring Europe in 1989 with Napalm Death and it made it look legit because Napalm Death had allowed our friend request and was in our top 10. Some people actually emailed, wanting to interview us…. Anyway, the joke got old, few people even knew of the joke to begin with, so I openly declare it’s “my thing” now while still performing under the alias “Benedict Badoglio.” I absolutely, 100% will be doing another SASQUATCH AGNOSTIC record…

A.K.A. MABUS was my baby & it suffered an untimely demise. Detroit was what it was & finding the right people to pull it off took many, many years. It went through a number of incarnations (and a handful of shows) as FILTHPIMP before evolving into A.K.A. MABUS. Long story short (and quite honestly) we did something fairly original which still has no direct comparison, and still to this day have a miniscule cult following on an album that was never even released outside an internet download (“Lord of the Black Sheep” 2006). Even weirder (or more appropriate) those who’ve really devoured this album over time & seriously been into it have mostly been street punks, crusts, anarcho-grinders, etc. It wasn’t until after A.K.A. MABUS that I really entered that world, traveling all over the country in 2007 & eventually being on the street throughout most of 2009. That crowd in general loves LEFTOVER CRACK, and most view A.K.A. MABUS as something of an extreme metal version of CHOKING VICTIM. Still, C.V. & L.C. weren’t really influences. Instead, A.K.A. MABUS was like a hideous, mutant DNA strand combining Zappa, Dwarves, Mr. Bungle, NASUM, Impaled Nazarene, Napalm Death, Dead Kennedys, Melvins & Judas Priest. It was totally punk rock in vibe, but razor-sharp in the blasting. We basically considered it experimental grindpunk, and our shows had a theatrical feeling, like this LAIBACH/NSK & CHURCH OF SUBGENIUS aesthetic complete with television sets onstage flickering porn & horror footage. We’d hand out Jehovah’s Witness style pamphlets before shoes as if we were prophets of some dystopian era to come; I wrote a 56 page manual on propaganda that coincided with the bands activities, like some insane manifesto...

A.K.A. MABUS, at the time of its demise, had never really been accepted by any “scene” in Detroit but had instead created its own organic whirlwind. I could go on forever about the politics of having been in the media as the big local metal/punk/industrial writer (I had a column in the biggest free weekly for 4 years) then going directly back into the trenches fang-bared & swinging. On many levels you are the victim of your own creation on that end, and it also doesn’t help that you are doing something “too this or too that” for any uniform clique. Plus Detroit is 10 years behind cities like Portland or Seattle where we would have been far more appreciated. So you have this Detroit scene where there is a strong, organic & open community of very talented freak & avant-garde bands – but you’re too insanely heavy for them, even if they like you personally & artistically. The name-tagged “punk rock scene” is very rigid in my opinion, very narrow kind of thing – just cut & dry. 10 bands on a bill & everyone is The Exploited. They never accepted us really, which was always a downer for me. And then the other side of the punk coin is where it’s 10 bands & everyone is singy-happy half-ass copycat Bad Religion/Rancid stuff – and I really loathe that zero testosterone sound… And then you have the heavy metal outskirts where it’s more divided & we generally got lumped into by proxy. So you have all these older “all death metal all the time” guys, this younger “tech-metal” crowd (including a huge swathe that sound exactly like Black Dahlia Murder), and a shit-ton of terrible nu-metal, rap-core, Disturbed/Pantera/Godsmack clones + tough guy Hatebreed mosh-core knuckle draggers…

Anyway, we recorded “Lord of the Black Sheep” in 2006 (a 15 track beast) and the band broke up before it ever came out. This year I put it out as a free download with the rest of my stuff on July 4th. There is a huge part of me that wants to resurrect this band, but I feel I couldn’t do it without the “OK” of the vocalist & drummer. The vocalist apparently doesn’t care but the drummer I haven’t talked to in many years & still isn’t too happy with how it ended. So we’ll see. I have a solid concept for a new album (“CONTRA MOLOCH”) that I feel very impassioned about, dealing specifically with Bohemian Grove & all those unsavory Illuminati designs. Either it will be SASQUATCH AGNOSTIC or A.K.A. MABUS to do it, but most likely SASQUATCH. I just don’t want to shit on the legacy of MABUS & be looked at like a Jerry Only or a Marilyn Manson. That would be rather lame.

Name some songs by A.K.A. Mabus and Sasquatch Agnostic, what they were about and what inspired them?
SASQUATCH AGNOSTIC is mostly random gibberish meant to be funny/confusing. However, the A.K.A. MABUS album “Lord of the Black Sheep” was a wide-spanning commentary that poked fun at the underground & many of the bullshit attitudes therein. As for A.K.A. MABUS songs “Ego Spengler” is about the archetypical douchebag too-serious metal band “leader” that suffocates his fellow band mates with his inflated ego (“I am the CEO, I created this ego with the blood, sweat, tears & years of constantly changing the lineup”). “Ransoming Yuppies For Their Showdogs” is about just that – our singer was on probation for stealing some rich woman’s poodle. So it was his revenge fantasy. “Operation Texaco” was our Iraq-War protest, written back when most Americans thought it was a great idea to invade (“”Trading cards, South Park, Hot Shots Part Deux -- it’ll all be over the news, it’ll all be over in a week or two”). “Bulletbelts of Oi” pokes fun at crusty punk rockers (“I’m a rebel without a flag – I’m unemployed, can I sleep on your couch?” And the sweet breakdown that goes “someday we will have defeated the government & anarchy will rule the earth & we can live in harmony with all the animals & plants – some day I can stop dressing like a warrior, someday I can put my bulletbelt away, someday I wont have anything to protest against”) And “No Tuerus Left Behind” which is about a Texan Christian crusader who bombs abortion clinics (“Abortion is murder & a woman’s body is a man’s decision…). All lyrics are posted on the blogs of www.myspace.com/akamabus & www.myspace.com/sasquatchagnostic.

Where would you like to see A.K.A. Mabus and Sasquatch Agnostic in the immediate future?
I’m on the fence about tampering with the legacy of A.K.A. MABUS, but SASQUATCH AGNOSTIC will be forming here in Portland Oregon & there will be another record in the distant future. I will soon be recording a new acoustic album as Jack Cassady which will again be a free download. Even without a full-time live lineup, SASQUATCH AGNOSTIC can tour with another band if they wish to learn a 20 minute set & I just come out at the end of their material and we blast through it. King of like how PIG & KMFDM sometimes tour together as one fluid ensemble. One thing is for certain though – I will definitely be staying away from any sort of super-rehearsed, no fun extreme metal band in the future. If no humor is involved, I feel there is no point. Life is too short to gurgle in the depths of grimness…

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20 Nov 2012, 19:56
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