Super 7 on the Gorilla Biscuits toy

As many of you may have already noticed, a toy company called Super 7 released a Gorilla Biscuits toy that the band sold on their Japan and Australian tours this past December 2008. Naturally, we here at DCXX thought it would make for an interesting entry if we tracked down the creators over at Super 7 and got the inside scoop on this highly coveted toy. In contacting Alex and Brian from Super 7, we came to find out that they both were readers of DCXX, so they were more than happy to get on board. Check out what both Alex and Brian had to say and if anyone out there has an extra GB toy they want to get rid of, let me know, I'm still trying to get my hands on one. Better than you... -Tim DCXX

What exactly is Super 7 and who is behind it?

Brian: Super7 started in 2001 as a magazine about my obsessive/compulsive collecting of Japanese Monster toys from the 1960s/70s. Basically, it was a glorified 'zine. I took the exact same things I did when I made punk 'zines, but made a japanese toy magazine instead. As it was the advent of digital photography, which dramatically cut our production costs, and I was able to do all the back end technical production, so the finished product looked pretty professional for a home grown magazine. I figured there were probably about 20 other people who would care, but if I could break even, then why not make it? The response was overwhelming from the start, and the magazine took off. We started making our own collaborative figures with Japanese manufacturers, and then designing toys for their companies, eventually designing and manufacturing our own toys.

Along the way, we befriended a lot of artists who were into the same things, and started making toys with them as well. We eventually opened up our own store, started making clothing, published a few books, and generally have nerded out to the highest degree. Originally, all the product ideas were mine, but as we have grown, the staff here has really started pitching in with their ideas as well. Right now, it is me (Brian Flynn), Glenn Pogue, Josh Herbolsheimer, Alex Zavaleta, Chad Hensley and Aaron Gonzalez.

Alex: Super7 is Flynn's baby and he has done some amazing things with it. Before I worked for Super7, it was my favorite toy company. Everything about it felt like a small hardcore label. He was releasing toys in small numbers for a small subculture of fans. You had a good idea of what Brian's style and tastes were by the toys he made, just the same way someone like Sean O' Donnell(Youngblood) or Alex D (Grave Mistake) puts out records. Once I started working here, meetings turned into Brian and I talking about the Cro-Mags on a pretty regular basis. We aren't a huge company but we're also not trying to be Hasbro. I believe we do what we do well, on our terms, we have a very solid and dedicated fan base, and for that we are grateful.



Prior to doing this GB toy, what had you made?

Brian: We have been making toys for almost eight years. At this point we have made over 250 figures, but the GB figure was the first "non-monster" oriented toy we have made. Previously, everything was centered around classic monster toys, like Godzilla, our original monsters, as well as collaborative figures we had designed with companies like Secret Base or Gargamel or other artists that were friends of ours. Last summer we started a new "fight series" of monsters, called the Snakes of Infinity. This size and scale was perfect for what the Gorilla already looked like, so we decided to see about making it into a figure that could stand next to them. They have a mascot who was already a character, we just made it in to 3D.

Alex: I guess it was a small departure from what we "normally" do but the toy fits in well in relation to the rest of the toys we make. It came traditionally packaged, the way all Japanese toy have been since the 60s, with just a plastic bag and a header card. Even a few of our regulars, who have no idea who GB is, bought them. We released about 40 different toys last year alone and it looks right at home with the rest of our toys. Although I would say, of all the projects we worked on in 2007, this was by far the one I was MOST excited about. That is saying a lot considering we had the pleasure of starting a project with Lucasfilm at the same time.


Civ with GB at The Anthrax, Photo: Jeff Ladd

Who approached who in regards to doing the GB toy and what were the steps to making this thing a reality?

Brian: I actually approached Civ about it. I was not sure what he was going to think about the idea at first, but he was really into it, and liked the idea of making it, as long as we did it for fun, and not to make a really big deal out of. He was in SF shortly thereafter tattooing at Grime's shop, so we were able to meet up and talk about it further in person. Once we met, it was easy to get started. I got into Hardcore and Punk Rock in 1985, at the age of 14, and Civ is close to me in age, and I saw GB and Bold on tour back in '89. We had much of the exact same upbringing within the punk and hardcore world, just in different locations, so we thought about these kind of things much the same way. The last thing I wanted to do was make some crappy watered down mall punk version of my past, much less his, so he was not really worried about me doing the wrong thing with it. If the toy had come out crappy, we would not have made it. That said, the sculpt took a few rounds to get to where we both liked it. As an obsessive toy collector and manufacturer, little things that bug me are lost on most people, but I had to make sure it was right on our end as well. It had to function as a toy first and foremost, not just be a statue, and that translation was a little tricky.

Who made the actual artistic/design changes to the original gorilla that appears on the cover of the seven inch, and why were these changes made?

Brian: A couple of the changes were due to the actual manufacturing process, and a few were aesthetic. The feet had to be smaller to actually be able to pull out of the mold. The super wide feet in the illustration would not distort/compress enough to pull through the ankle widths without stretching or tearing. We made the feet as big as possible before we ran into production issues. The arms were much the same way, and we made them as big as possible. The other main change was the head. The original drawing has a tiny head, and on the sculpt it looked ridiculous. A lot of the things that make the 2D drawing amazing - the distortions of proportion especially, actually look horrible in 3D. Also, it is a flat view, so you really have to imagine how these shapes play out in 3d, and how they connect, which changes things immensely. Believe it or not, the hardest thing was the shorts. If you really look at the drawing, the shorts are crazy. Super short, high waters with a rolled cuff that are high enough that you can see half of the thigh. Getting that to look correct was the hardest part. I think I changed the sculpt four times just on the shorts.

Alex: It's funny because I think people forget how small the head actually is in the drawing. One of the first things people asked me about, in respect to the sculpt, was "Why isn't the head huge the way it is in the drawing?" As Brian mentioned there are limitations with the manufacturing side. So much care goes into the sculpt in regards to such as manufacturing, size, balance and even how it will eventually be painted. We were dealing with something iconic and so revered by many people so we took our time to get it right.

What type of input did the guys in GB have? How close did they work with you?

Brian: Mostly Civ, and he was really laid back. He said "I know you are more picky than I am, so make what you think is right first, and then I will make the changes I feel are necessary". It went really well. Ultimately, we made the toy to have fun, not for a business outlet, so we just worked on it back and forth until we were happy. It was a very natural process, nothing forced. Brian Clark, who actually drew the cover, was really psyched on it as well. Once it was finished the band was really into it, and the reaction from the fans on tour took them by surprise. I think it was more popular and unique than either of us expected it to be.

Alex: The reaction from fans and kids was great. From the day the prototype was debuted at comic con, we got phone calls at the store about it. I also tried to post on message boards about it as much as I could to give people the straight info on it. I think people were excited to see that there were hardcore kids behind it and it wasn't just some faceless company trying to make a buck. As Brian said we made the toy for fun and not to make money. If we wanted to do that we would have made a Metallica toy.



How many total were made and where were/are they sold?

Brian: Normally, we never tell how many we make of any of our toys. That way people buy the toys because they want them, not because they are rare or collectible. How many horrible records have you seen made in editions of 15/25/50 and then touted as "rare"? Something is only rare if 200 people want it and you make 50. If you make 50 and only 10 people want it, it is common. If you look at record (and toy) trade lists, they are full of "only 20 made!!" descriptions next to records/toys you wouldn't want anyways, but people still bought them. People end up buying things not because they want them, but because they are limited. So, we don't say how many we make of anything usually, we just make them. If you want them, cool, if not, that is cool too. Only time will tell if it is rare or not, the edition size is irrelevant. Just buy what you like.

The figures were sold on the Gorilla Biscuits Japanese and Australian tour in December of 2008. For the Super7 fans and collectors, we sold a certain amount of the figures through our store in San Francisco, that way both the fans of the band, and the fans of Super7 had their chance at getting them. The first version was a white vinyl with a blue sweatshirt and grey accents that was made to match the first pressing cover of the 7". There were also secret unpainted black figures for sale unannounced during the Japan part of the tour, and secret clear unpainted figures in Australia. The unpainted black is a tribute to many Japanese toy companies who always make the first edition of a toy in unpainted black vinyl, as a "prototype" and make it only available to the hardcore fans. Since we make all of our toys in Japan, we usually make unpainted black figures that are only available to our Fan Club. The unpainted clear is a tribute to a now-defunct shop called Base Xero Xero in Osaka. Their signature was exclusive all clear editions of toys for their shop. The shop owner Ussun now works at Three Tides tattoo in Osaka, where Civ has tattooed and was the first stop for them when landing in Japan for this tour as their "home base" of sorts. Both the black and clear unpainted were also made available to our Fan Club here in the states.

Alex: This was probably the most asked question over the months before the toy was released. On a daily basis I received frantic emails that just said "HOW MANY ARE BEING MADE??" As Brian said, we encourage people to buy what they like. If you like it painted, buy it painted. If you like the unpainted, buy that one. I would agree that is pretty uncommon for American toy companies to not release run numbers but we do things on our terms. I think our customers respect us for that. At the same time I understand the need of a manic collector to want every version we made and just wants to know what his chances are of getting them. So I did my best to give the people who emailed me about it before hand a heads up when they went on sale. Although the ones we did sell out of our store, sold out in hours.

Any future plans to do more GB toys or other toys like this that are HC related?

Brian: We are working on a couple other GB editions right now. We have a banana yellow vinyl with purple sweatshirt 2nd press edition in the works now, but that will probably be the last version that is tied to the 7". Civ is really into making a few versions that are just toys, not repackages of the record. You have to remember all those guys collected 12" GI Joe back in the day, so they have a history with toys, which is why I think this toy has not felt forced or fake.

We have talked about a few different toy collaborations beyond the GB figure, but I think we (Super7) have to be wary of making too many band toys, otherwise you end up looking like Hot Topic or something. We make monster toys first and foremost. We have been trying to do one other collab project, but have not worked it out quite yet. We have a few other ideas as well, but I want to wait until later, after we are done with the GB figure to make them. I think one HC toy at a time is enough for now, otherwise we end up diluting how cool and unique of a project this really is for both of us. If every band had a toy, how lame would that be? I wish I could tell you what the other projects are, but the moment I do that, a ton of crappy companies that copy everything we do will try and come along and swoop it up, making fake junk of our history instead of something nice. I would rather keep those ideas where they belong.

Alex: Yes, our lips are sealed about future releases. Too many snakes in the grass. Although we have some great things planned for 2009.

Poll results to which frontman you would most like to see interviewed

The almighty Judge in front of a massive City Gardens crowd, Photo: Ken Salerno

When I created this poll, I had no idea the results were going to be this lopsided... honestly. I had this strong feeling that everyone was killing to see a Jules interview and I knew people wanted to see an interview with Mike, but I didn't know it was so much more than all of these other guys. I'm genuinely surprised.

I have to apologize though, apparently me creating this poll led a lot of people to believe that we here at DCXX had access to all of these frontmen and would get who ever won the poll, up here on DCXX. Truth of the matter is that we've made attempts at a few of them and so far, none have bitten. The intent of this post was more of a way to get some of these guys in the know about how interested people really are into hearing from them. I do know that at least two of these guys have read or do read DCXX from time to time, so I was hoping they'd be impressed by the results and insist on breaking their silence. We'll see though, hopefully at least one of them will surface.

I will say, I know people really loved the interviews we did with guys like Jimmy Yu and Djinji from Absolution, but you have to realize that both of those guys are pretty unique personalities. Jimmy for example had never been interviewed. Obviously the guy had a lot to say and we happened to catch him at the right time. In the big picture, guys like Jimmy and Djinji are probably a bit rare. With that being said, that doesn't mean that we've given up on definitive, deep, multi entry interviews like those guys brought. As a matter of fact, I just got finished setting one up that I'm pretty sure should make a lot of people happy. I know it will at least make us happy. Stay tuned. -Tim DCXX

Mike Ferraro - Judge: 239
Pat Dubar - Uniform Choice: 116
Jules Masse - Side By Side: 102
Tommy Carrol - Straight Ahead: 94


Mike gives a sing along to the City Gardens crowd, Photo: Ken Salerno

At least I know I've tried

Rest In Pieces at CBGB's, check out Lou Of It All, Photo: Ken Salerno

In light of some recent comments, I felt motivated to post this "out of the ordinary" weekend entry. Over the past few days it seems like some of the readers felt it was necessary to go out of their way to insult me and or make negative comments about some of the recent entries. Now don't get me wrong, I'm not thin skinned, I've been through shit like this a million times and I can surely handle criticism. As a matter of fact, I'm all for constructive criticism and I know it comes with the territory, so because of that fact, I wanted to make a few things clear.

First off, it's no secret that for the most part, things here at DCXX have been going a little slow lately. Yeah, I've been trying my best to keep up with the five day a week updates, but truth of the matter is that it hasn't been easy. For one thing, Gordo has been tied up with some things outside of DCXX, so there has been zero input from him in at least a month. That all should be changing soon, so that's a good thing. What I will say though, is with Gordo's absence, aside from a couple guys like Billy Rubin, Big Frank and RJ Vail, I've had to create a lot of the recent content from scratch. Throw work, family and every day responsibilities into the mix and it's honestly a miracle that I've even been able to keep it going.

Second, we've got about eight interviews out that we're waiting on to come back. Most of these interviews have been out for the past two months, so we're crossing our fingers that they'll be coming back soon. As soon as some of these interviews find their way back into our inbox, you can be assured that they will quickly find their way onto DCXX. I've also got to get back on the transcribing of the RJ Vail (YOT roadie) interview and get some photos from him for that. Trust me though, things are in the works, so be patient.


CB's crowd, Comunale with a flannel shirt and finger point, Photo: Ken Salerno

Third, I thought I was clear about the Mouthpiece content, but I suppose if you missed the first post or didn't care to read the first post, you'd be out of the loop. Basically, I'm generally not one to push my own bands in people faces. I certainly don't expect everyone to love Mouthpiece and I don't try to make Mouthpiece out to be more than we were. At best, we were probably a third generation straight edge hardcore band that wanted to sound like Chain Of Strength. I make no bones about it. We weren't great musicians, we didn't write groundbreaking music, I didn't write profound, mind blowing lyrics and I certainly didn't have Mike Judge quality chords. What we were, was a band of five kids that loved hardcore as fans first and foremost, were sincere about what we said and did what we did because we thoroughly lived it and enjoyed it. We never set out to be some touring machine to conquer the world and line our pockets from the scene. As cliche' as it sounds, Mouthpiece existed out of our love for the bands that inspired us and the experiences that pushed us. Somehow or another, some people actually ended up liking us. For those that liked Mouthpiece, I hope the entries were interesting. For those that could care less about Mouthpiece, again, I hope you could at least appreciate the stories to some extent.

Like I said, I thought I made it clear that there was a purpose behind all the Mouthpiece entries. We had the discography coming out on Revelation, it was a project that we put a great deal of time and effort into and considering the fact that anywhere between 650 to 1,500 people are reading this blog daily, I thought I'd help promote the discography in a fun and interesting way on my blog. I never tried to come off as a bragger or a gloater and quite honestly, at first, felt a little uncomfortable putting content of my own band out there. I clearly stated from the first cover story entry that I was going to tell the story of each cover over the span of a couple of months, building up to the release of the discography. The first three entries went well, I received a lot of positive feedback, so I went forward with a little more confidence for a couple more entries. That's pretty much that and for the most part, winds down those entires.

Now moving forward, at this point if you've been following this site for a little while, you should generally know what to expect when you come here. If you don't like what you see, are not into the style of bands that we cover and do not like the people that are delivering it, please, by all means, do yourself a favor and don't come here. We're not making any money off of this, nor are we trying to. We do not need your subscription fee, so we could care less if you visit the page. We simply do this because we enjoy it. It's like doing a fanzine, but with instant gratification. We get to talk to people, hear stories and document things that interest us personally. Apparently a good amount of people enjoy a lot of the same things we do, so we've acquired a pretty impressive following. So for the people that enjoy this and appreciate what we do, thank you and definitely stay tuned because there is plenty more to come.

Trust me, I know the negative comments are greatly out numbered by the positive. I've got a boat load of incredibly cool emails that I still need to respond to and I will try to respond to everyone as soon as I can. But, like anyone that's put themselves out there can attest, it's hard to let the negative comments just roll off your back. Especially with something like this where you put so much time and effort into it and expect nothing in return. To have anonymous people slag your efforts that you are giving away to them, it's hard to not say "what the fuck?". But whatever, I'll keep pushing forward like I've always done. Thanks for reading this, thanks for the constructive criticism, thanks for the support and enjoy the rest of your weekend. See ya back here on Monday. -Tim DCXX


Porcell goes for a dive at CB's during Breakdown, Photo: Ken Salerno

Suicidal Tendencies

Last month at some point I had done an entry where I talked about finding a pile of random flyers, photos, stickers and fanzines in a closet of mine. Well tonight I decided to take another grab into that pile. This time around I pulled out this classic Suicidal Tendencies flyer. Not only is it a great Suicidal flyer for a show with one of Texas's best, the Big Boys, but it also uses some sick Pushead art. I've also had a few old Suicidal photos from Ken Salerno, so I thought I'd post all of this together for a little homage to the mighty Suicidal.

On a side note, how great is the first self titled Suicidal Tendencies album? Stay tuned for more jems plucked from the closet for future entries. -Tim DCXX


Suicidal Tendencies at City Gardens, Photo: Ken Salerno


Mike Muir of Suicidal at City Gardens, Photo: Ken Salerno

The story behind the Mouthpiece "Can't Kill What's Inside" discography cover

Five years ago when the idea first came together to do the Mouthpiece discography, a major decision that needed to be made, was what to do for the cover. For me, being one of the main graphic designers on everything we'd ever done with Mouthpiece, this decision laid pretty heavily in my hands. Designing the cover is a crucial part of the process, how the cover looks, usually reflects upon the rest of the layout. For a project like this being a complete discography and the end all be all for Mouthpiece, the design of the packaging was extremely important.

For starters I naturally wanted something that meant something to us. Sifting through old photos would have been easy, but with Mouthpiece, we rarely went the easy and predictable route. My thoughts started focusing on the West Trenton Train Station, which was a local train station in Ewing, New Jersey, the town that Chris, Jason and myself from Mouthpiece all grew up in. The significance of this particular train station goes all the way back to the late 80's for us. Some of us in the band, as well as some of our friends, would hop on the train in West Trenton and ride it into Philadelphia to go skating, record and sneaker shopping and even occasionally for shows. Before we had our license, this train station really helped connect us to a place that at the time, seemed to be a center point for a lot of the great things that were happening.


Original cover concept from tunnel, Photo: Pete Russo

One of the other reasons that I decided upon the West Trenton Train Station as the setting for the cover of our discography, was the history that it actually had with the band through past photographs. For the Mouthpiece "Face Tomorrow" 7", we did a few different photo shoots at this train station. Particularly the promo photos that were used in connection with the "Face Tomorrow" 7" and of course the classic photo of us walking up the steps, wearing the varsity jackets, plus the small photo of us inset on the back cover. All of these photos, as well as more that would end up being used in the layouts for the discography, were all taken at the same local train station.

Now when it came to what the photo would actually be of that would end up on the discography cover, that had to be determined. My first idea was to have someone leaning against the wall of the tunnel that runs under the tracks and connects the north bound side to the south bound side. All the old photos that we had taken originally had numerous people in them, the idea that I had this time was to be one person, so we would have to do a new shoot. I knew how I wanted the person positioned and what I wanted them wearing, but I didn't know who I should or could get for the shot. I had two friends, Pete Russo and Chris Alpino that were out to take a stab at the photography, so I just decided that the easiest and most logical choice was for myself to be the person in the shot. As for what I would wear for the shoot, I didn't want it to look too over the top and forced. Sure, I still wear a lot of my old hardcore shirts on a regular basis, but like I said, I didn't want this to at all look unnatural and forced. I simply threw on a black Champion hooded sweatshirt, a pair of camo shorts and a pair of Nike running sneakers. Ironically, the Nike running sneakers were the same kind that I'm wearing on the back of our first New Age Records shirt, "My Conscience Knows The Truth". The original shirt photo can also be found in the layout of the booklet, last strip of photos, last photo.


The train is approching, Photo: Pete Russo


The train has stopped, Photo: Pete Russo

So we did a handful of shots in the tunnel as planned, then moved around to other locations at the station for a back up plan. I sat down on a riser beside the tracks and Pete thought the shot looked kinda cool. By this point in the day, the sun was starting to go down, so the sky had a pretty interesting look to it. We also had a train roaring in for a drop off, so of course Pete set up a shot including that. Our last stop was under a bridge along side the station. We shot a few photos off there and wrapped up the night. Next step was to sit down and go through all the photos and see what we ended up with, my fingers were crossed.

Once I got home and uploaded all the photos, the original concept shots that we did in the tunnel weren't working. I couldn't find one that grabbed me. I think part of the reason that they didn't work was because in many of those shots, my face was slightly visable and I definitely didn't want that. I didn't want an easily identifiable person on the cover of this record, it just seemed kind of goofy. One shot that did stand out to me was when I sat down on the riser by the tracks. There were a few of those shots that I thought came out pretty cool, but the one with the train rolling up was particularly interesting. Pete had set the shutter speed very slow, so as long as I stayed still, everything around me would be slightly blurred, but I would be in clear focus. Somehow or another we definitely got lucky and everything came together for this shot. For me, this shot was a no-brainer, it worked and in my mind, it was settled.

When it came time to put the cover together and bring the logo in with the album title, everything sort of just fell into place. Chris Alpino was actually the first to reccomend using the metallic gold for the logo. I picked the photo, which Pete Russo had shot and brought in the top of another photo to flip and put on top. Chris Daly from Ressurection, 108 and Texas Is The Reason did all the handwriting, he was also the same one to do all the handwriting on the first Mouthpiece 7". Then last but not least, Ed McKirdy and I put it all together as a finished cover. In the end, five people had a hand in what was to become this cover, so thanks to all of them. Hopefully now when you see this cover and all of the previous Mouthpiece covers, you'll realize there was meaning behind each and every one. -Tim DCXX


Under the bridge photo shoot, Photo: Pete Russo

What She Said

What She Said - Body On Fire from Radio Silence on Vimeo.

New Years Eve, December 31st of 1991, I was in San Diego California with my band Mouthpiece. We were playing a show at the Che' Cafe with Get It Away, Unbroken, Mean Season, Ressurection, A Chorus Of Disapproval and Outspoken. This was the last show of our first west coast tour. Although the show it's self was a damn good one, I unfortunately have a lot of bad memories that revolved around this show. Inner-band arguments, people butting heads, disagreements, awkwardness, uncomfortableness, you name it and it went down at this show. In the middle of all that, there was one bright spot.

My then girl friend and now wife, Traci, was friends with Mike Down from Amenity / Forced Down. She had met him and the rest of Amenity on their east coast tour and went to a handful of their shows. Traci and Mike kept in touch and when we were in San Diego, Traci gave Mike a call and arranged for her and I to meet up with him and hang out. Mike ended up swinging by the Che' Cafe and picking Traci and I up. He took us over to his apartment to hang out for a little bit. I remember seeing all kinds of Downside stuff lying all over the house. Forced Down records and covers that had yet to be put together, posters, stickers, shirts, etc. Mike loaded Traci and I up with all kinds of goods. I remember Mike going into his room and pulling out a few old hardcore shirts, one being an original Wishing Well Uniform Choice "Use Your Head" shirt. Only problem with the U.C. shirt is that the D had worn off "Use Your Head" and it now said, "Use Your Hea". Mike asked if I wanted it and I happily took it, "Use Your Hea" and all.

Just before we got ready to leave, Mike said, "Hey, I've got a video you guys need to see... it's of a project band that I was doing with Chris and Alex from Chain and Josh from Forced Down". Mike got really excited when he was telling us about it and quickly dug it out and dropped it into his VCR. Within momments the video started and we all stood there in that room staring at the TV. Now I was already a big fan of Statue, Chain Of Strength, Amenity and Forced Down, so I thought I had an idea of what I should expect... turned out I was only partly right. What we were hearing in this video did sort of sound like Statue, with Alex on vocals that was sort of inevitable, but there was something very unique about this. As we're watching it, Mike is telling us that the project was called What She Said and was all improved. It all seemed a bit foreign to me, but I was definitely digging it and soaking it all it. Then came the end of the video. Now I've seen plenty of bands "go off", some doing it naturally, some looking rather forced, but while I'm watching the end of this video un-fold, I'm thinking to myself that I'd never seen anything exactly like this. Alex with this "What She Said" mantra, Mike just going off on his guitar, Josh beating the life out of his bass and then Bratton... dude looked possesd. Smashing those cymbal stands together, kicking over his kit, running out into the crowd with cymbal stands in hand as if they were weapons, these images burnt into my mind. I remember getting ready to leave and having Mike drive us back to the Che' and telling him that I absolutely had to have a copy of that video. Unfortuantely it was getting late and we had to get back, but Mike promised to make me a copy and send it at some point.

Mike followed through with that promise and eventually this video that I kept telling everyone about was more than just some storied tale. A handful of my friends got to check it out, but before I knew, the video disapeared. Whether it was lent to someone or lost in the shuffle of a move, some how or another the video was never to be seen again... until the boys of Radio Silence (Anthony and Nate) dug it up, digitized it and posted it up on the Radio Silence page. I asked Anthony if it was ok for me to re-post here on Double Cross. I figured since I had my own story involving the video, I could include it and share it with whomever wanted to check it out here. Big thanks to Anthony for giving me the thumbs up and definitely swing over to the Radio Silence page to see their story and Chris Bratton's story on What She Said. -Tim DCXX

http://www.radiosilencebook.com/2009/01/what-she-said-body-on-fire/

Vision - "In The Blink Of An Eye" show

Vision at Scott Hall, Photo: Ken Salerno

So the cat is out of the bag, New Jersey Hardcore legends, Vision have a great show lined up for Saturday April 4th, 2009. In celebration of 20 years since it's release, Vision plan to play a show in New Brunswick, New Jersey at the Court Tavern, with the full original "In The Blink Of An Eye" LP lineup of Dave Franklin, Matt Riga, Pete Tabbot and original bassist, Chris McGill. Frontman, Dave Franklin tells us that they'll be playing the "In The Blink Of An Eye" LP from start to finish. I for one know I won't be missing this. More info and other bands will be announced. -Tim DCXX