[Coincidently, Plate 2

[Betty Neyhart]

<div>How on earth did Matt end up on a Zoogz rift album? Apparently, the two met very briefly in New Jersey. While Zoogz was older than most of the punk rockers at SST, Matt was considerably younger. He, too, fronted an unconventional message-driven band called Earth Dies Burning, which we talked about over dinner.</div><div></div><div></div><div></div><div></div><div></div><div>Coincidently, Plate 2</div><div></div><div>Download File: https://t.co/dQuhpyeAAj </div><div></div><div></div><div>\u201CA lot of people don't realize what's really going on. They view life as a bunch of unconnected incidents and things. They don't realize that there's this, like, lattice of coincidence that lays on top of everything. Give you an example; show you what I mean: suppose you're thinking about a plate of shrimp. Suddenly someone'll say, like, \\\"plate,\\\" or \\\"shrimp,\\\" or \\\"plate o' shrimp\\\" out of the blue, no explanation. No point in looking for one, either. It's all part of a cosmic unconsciousness.\u201D</div><div></div><div></div><div>Last week I walked down to Beat Box Record Store, which is down the street from my studio here in Barrio Logan. It\u2019s nice to chit-chat with Bernie about the neighborhood and browse through the bins. He\u2019s always got some interesting stuff.</div><div></div><div></div><div>I bought a VHS copy of Along the Way, the video Bad Religion recorded during the European Suffer Tour. I thought about grabbing the album Living Dead by Dead Hippie. If you\u2019ve read Corporate Rock Sucks you may recall there\u2019s an SST connection here. Dead Hippie was fronted by Simon Smallwood, who briefly performed with Chuck Dukowski in W\u00FCrm and gave some consideration to playing in SWA.</div><div></div><div></div><div>Smallwood was a captivating performer and I remember his appearance on New Wave Theatre, a cable access music show hosted and curated by Peter Ivers who was a fascinating figure in his own right. Ivers opened the show with a monologue that was as prophetic as it was profound. Watch the first five minutes of this show and marvel at the prescience of Ivers\u2019 words and the intensity of Smallwood\u2019s performance.</div><div></div><div></div><div></div><div></div><div>I didn\u2019t buy the record, but wished I did, a stray vibration of regret. I went back the next day and picked it up. Living Dead was released by Pulse Records, which according to discogs, had a curious catalog system and released a total of five records, the first of which was Middle Class\u2019s Homeland (PR 123). Living Dead was Pulse\u2019s third release (PR 345) and features photography by Edward Colver, who, coincidentally, if you believe in that sort of thing, posted this extraordinary photo of Smallwood the week before last. (Edward told me he took the band photo that appears on the back cover of Living Dead in the Bronson Caves in Griffith Park aka the Batman Caves.)</div><div></div><div></div><div></div><div></div><div></div><div></div><div>Last week my wife, Nuvia, helped organize an event with educators from all over to the country. The event was held at the art gallery next door to my studio and I met a few of the participants while poaching coffee and leftovers. Some of the educators wanted to see the studio where I work, so I gave them a little tour. Matt from Portland immediately spotted the new addition to my collection. \u201CDead Hippie,\u201D he said. \u201CI remember them.\u201D</div><div></div><div></div><div>We got to talking about LA punk, SST Records, and New Wave Theatre. After I referred to Dead Hippie\u2019s appearance on New Wave Theatre, he mentioned that his band was featured on the show, but he didn\u2019t want to talk about that, and shifted the conversation back to SST.</div><div></div><div></div><div>Matt\u2019s band was a synth punk act that comprised a group of teenagers from the San Fernando Valley (Think the Screamers meet Bad Religion circa Into the Unknown.) Here\u2019s Earth Dies Burning on New Wave Theatre:</div><div></div><div></div><div></div><div></div><div>Here the story gets even stranger. The other day, I was quietly minding my own business, scrolling through Instagram, when I came across a tribute to Peter Ivers that recounted his exploits as an actor, monologuist, harmonica player, holder of a black belt in karate, and composer of the song \u201CIn Heaven\u201D that was featured in David Lynch\u2019s Eraserhead. The series of images ends with the Earth Dies Burning video above.</div><div></div><div></div><div>Since Corporate Rock Sucks was released, I\u2019ve been getting messages from readers telling me how they connected with the book. I appreciate these messages a great deal, but the one I received from Chris Schlarb was different. Chris is a producer who recently made a remarkable discovery. While digging around in his studio\u2019s storage attic and found this:</div><div></div><div></div><div></div><div></div><div>These are tape cases (not the actual masters) for a pair of releases from Cruz Records. He had no idea what they were doing in his studio and the discovery spurred Chris to read Corporate Rock Sucks to confirm his suspicion that his studio space was the very same room that had been occupied by Greg Ginn\u2019s Casa Destroy.</div><div></div><div></div><div>I wanted to know more so I reached out to Chris and learned that he was born and raised in Long Beach, California, and attended Jordan High School. He was interested in music but started a family at an early age. He worked various jobs, including stints as a private investigator, a claims adjustor, and a truck driver\u2014all while pursuing music projects on the side.</div><div></div><div></div><div>One of those projects was producing records for Sufjan Stevens for the label Asthmatic Kitty, which also released music by his own band Psychic Temple. He collaborated with a number of local artists and over the years he\u2019s worked on several projects with Mike Watt.</div><div></div><div></div><div>\u201CAt one point I reached out to Watt and I was like, \u201CDo you think Greg would want these?\u201D I emailed somebody over there and they were like, \u201CAre the actual tapes inside?\u201D and I said, \u201CNo, just the cases\u201D and they said, \u201CNo, we don't want them. That was a funny thing. I thought, \u201CSurely they would want this stuff. I'll ship it to you.\u201D And they were like, \u201CIf the tapes aren't in there, we don't care.\u201D</div><div></div><div></div><div>Other than Ginn, he didn\u2019t know who the other people were. I sent the photo over to Casa Destroy\u2019s house engineer Andy Batwinas and he identified almost everyone in the photo. Batwinas sent the photo to Steve Sharp whom he worked with at Casa Destroy and Sharp filled in the gaps. However, Sharp wanted to know how I\u2019d come by the photo since he had the original. I called him to clear up the mystery and he told me some incredible stories about his time with Greg Ginn.</div><div></div><div></div><div>So there you have it. If you\u2019re looking for a studio and you want to record in the room where Greg Ginn worked his magic, visit Big Ego. If you\u2019d like to learn more about Earth Dies Burning, check out the band\u2019s website. Do you want more stories about Casa Destroy in the future? Say something in the comments or simply close your eyes, think real heard, and when the vibe shifts, I\u2019ll know.</div><div></div><div></div><div>Released in September of 1982, with its fast pace and different sound, I instantly became attached to this album in 2015. I was about ten when I was first exposed to the Descendents, more specifically Milo Goes to College. My dad had put it on in the car, which was usually my sister's music territory, so hearing this fast-paced angry music instead of my sister's usual mellow indie rock was a shock but a very good one. Though I found this album interesting and entertaining, I didn't have the resources to look into it. I rediscovered Milo Goes to College at fifteen and fell in love with it all over again. From the angry \u201CI\u2019m Not a Punk\u201D and \u201CParents\u201D to the pop-punk love song \u201CHope\u201D it had me hooked. The album is revolutionary in every way and it seems each generation that discovers Milo Goes to College feels the same way.</div><div></div><div></div><div>Good news/bad news. Bad news first. I\u2019ve had to postpone my reading this month at Black Saddle Bikes in Madison, Wisconsin. Good news is I\u2019ll be making an appearance at Neptoon Records in Vancouver BC next Friday. It\u2019s my first trip to Vancouver, or Canada for that matter, if you can believe it. What should I do?</div><div></div><div></div><div>The site is secure. </div><div></div><div> The https:// ensures that you are connecting to the official website and that any information you provide is encrypted and transmitted securely.</div><div></div><div></div><div>Great earthquakes have repeatedly occurred on the plate interface in a few shallow-dipping subduction zones where the subducting and overriding plates are strongly locked. Silent earthquakes (or slow slip events) were recently discovered at the down-dip extension of the locked zone and interact with the earthquake cycle. Here, we show that locally observed converted SP arrivals and teleseismic underside reflections that sample the top of the subducting plate in southern Mexico reveal that the ultra-slow velocity layer (USL) varies spatially (3 to 5 kilometers, with an S-wave velocity of approximately 2.0 to 2.7 kilometers per second). Most slow slip patches coincide with the presence of the USL, and they are bounded by the absence of the USL. The extent of the USL delineates the zone of transitional frictional behavior.</div><div></div><div></div><div>Below you can see my two simple parts. The plate rests on the underside of the extrusion, and a set of bolts holes lines them up from above and below. In solidworks I'd simply make the top face of the plate and bottom face of the extrusion coincident, then add a concentric mate to the bolt hole to get it lined up. What's the equivalent in Fusion 360? When i select the inner diameter of both bolt holes it moves the plate to an arbitrary location where it collides with the extrusion. Then i can't move it down properly to line up.</div><div></div><div></div><div>Please see Screencast to see my process. There are probably others as no one models in the same fashion. Since the holes in the extrusion are not on the surface, it requires three joints. My model is attached in one file, I broke your links so you may not want to use it except for example.</div><div></div><div> 795a8134c1</div>