First up was Seattle metal band Midnight Idols. I have to admit, I've never seen so many people in the bar for the first band up in a long time. Midnight Idols tore through about a 30 minute set of their self proclaimed 'quality purveyors of true heavy metal' warming the crowd up and leaving them wanting more. Midnight Idols is what's right about local metal and delivered a tight, high energy set that was the perfect start for the coming madness. These dudes sound reminds me of a time when Judas Priest and Iron Maiden were running amok and ruling the planet. Awesome band, highly recommend checking them out! Next up was a band I was really looking forward to seeing, Princess. I'm not sure how to describe their sound. It's kinda metal, kinda punk a little heavy, fast, sou nds like Henry Rollings molesting Sonic Youth or somethin' like that, they RULE!!

By the time Princess took the stage the place was fully packed, shoulder to shoulder. Andrew Chapman (vocals) led the band through a 30 minute set at times jumping off the stage into the crowd and making everyone there part of the show.

I love the originality and quirkiness of this band not to mention the fact that they flat out rock and put on a hell of a live show, again do yourself a favor and check out Princess! By the time Princess finished up their set the vibe in The Sunset was that of a powder keg. You could just feel the energy and anticipation swelling.

Zero Down was up next. I've seen this band several times in the last few months and every show is the same, I leave feeling that whatever I paid to get in to see them was well worth it, and in fact I probably still owe them some money on the way out.

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What a fucking great hard rock, metal band Zero Down is. Luckily they are from these parts of the woods and we get to see them fairly often. As soon as they took the stage the crowd pushed forward and the first formation of a mosh pit appeared. Dudes played for about 40 minutes loud n' fast and seemingly holding up a lit match to the powder keg fuse. Zero Down is a party every time they play and are one of the reasons, we do what we do at this magazine and love it. The Insurgence hit the stage around 12:30 like a sledgehammer to your skull.

The mosh pit started immediately and never stopped till the bands last song around 1am. It was electric, like a really big band playing a really small place.

Video camera's were everywhere, flashes from still camera's every couple of seconds, Jibo encouraging crowds participation directing the few stragglers on the outside of the pit to join the chaos. The Insurgence blew the roof off The Sunset to the point of making the owner of the place a little unconformable and out of The Sunset's Ballard comfort zone. Somewhere around the second song, the owner (that's how he introduced himself) walked around the floor near the stage telling people to turn their cameras off or 'get out.' He told me the same thing, I asked why, and was told,'because I own this place!' Fucking lame.

Talk about sucking the energy out of a room. A few people continued to shoot some pictures of The Insurgence including their own photographer and they were in fact, kicked out. Later I heard the owner told someone it was illegal to take pictures in his bar, or some bullshit like that. We sat there all night drinking their over priced beer and eating their shitty pizza waiting for The Insurgence to come on and they are kicking people out for taking pictures? Fucking Joke. That's how good The Insurgence were on this night, to rowdy, to loud, to different for video or pictures in the mild mannered Sunset Tavern, what else can I say, that about sums up their show.

They blew into The Sunset like a twister, shook the floor beams, rattled the walls, rocked the fuck out of everybody and left. I needed a show like this! Every band that played killed it and I wish a few more bands in this city would get out there and shake shit up and make some REAL noise like this line-up did tonight! Thank you KISW, Digital Warfare Records all the bands and Satan for this one-we all owe ya!

(An Emeral d City Fairy Tale by Fred Speakman) PART TWO: 'Happily Ever After Means Eternal Hell' (1990-1996) '.And I-hi, hoe-whoa, I'm still alive, yarrrrll!' ('Alive' by Pearl Jam; from 'Ten') When Seattle turned the page from the 80s to the 90s. I remember feeling like the end was definitely near, even though most of our lives were very young. The change was so abrupt and shocking to me that I had to ignore the significance of living in one of the most popular cities in America.by getting completely shitfaced almost everyday. Starbucks Coffee was getting really big, Microsoft was gaining power to unleash worldwide insanity upon us all, and Soundgarden had just signed with A&M Records. This news was exciting to some of the glamorous booty-swirling chicks and chicksters in this town, especially those who bought anything/everything that SubPop put out.but for those of us who wanted to continue to play loud, abrasive and fast punk fused with speed metal, we ignored this new Seattle yarl rock, and continued to punish our own and each other's eardrums, each other's braincells, with our unpolished, immature brand of insanity, while exclaiming 'FUCK SUB POP!!!' (and that was only a small lot of us).

SubPop was not saving my life by any means. This is not to say that everything that came out on SubPop was bad, or that most of us didn't secretly like Soundgarden (one of my top ten desert island discs is definitely 'BadMotorFinger').

I would rather have listened to Mudhoney, or The Fastbacks, than Alice In Chains at the time. We also realized that that a phenomenon was beginning in Seattle that would change the face of popular music forever. Time has proven, as with all fads, that it was a brief shining moment that still has a minty aftertaste and obviously has influenced enough terrible bands on a global level to be considered significant enough. Seattle contributed an overwhelming mass of radioactive sludge that contaminated the airwaves. As for I and most of my peers past and present, we did our best to ignore this pest called 'grunge', and listened to bands like Celtic Frost, Slayer, Poison Idea, Napalm Death, Christ On Parade, Deicide, Morbid Angel, and.Neurosis (more on them later).

Jerry from Christ On A Crutch Maybe you've noticed that a lot of the aforementioned bands are of the punk or speed metal genre. See, most of us punkers here in Seattle were really heshers at heart, and we were still sort of stuck on the crossover phase of punk metal that started in the mid-80's.

Mix shitty generic beer in with some of the most mind-numbingly potent marijuana in the United States, add louder-than-fuck hardcore punk metal dirge.and you've got a recipe for one of the heaviest mind fogs, only akin to the natives of the Pacific Northwest region. Not enough rain for yah? Wanna make a sunny day cloudy? It's easy.Hang out with a bunch of NW heshers. Make sure one of them is 21 or older to buy beer and please stop spilling the bong, dude!!

The bong water is seeping through the cracks in the floor, and the rats in the basement are drinking it!! Bands like Aspirin Feast, Fitz Of Depression, NMF, Model Citizens, The Derelicts, Three Legged Dog, Christ On A Crutch, Dumt, Date Rape, Whipped, T.F.L., Positive Greed, Morphius, and North American Bison were slogging it out at all ages halls all over the region.

My band Last Gasp were kind of known as the young local nut-balls of the scene. In the middle of it all, you had characters like Orin (mentioned in Part One), who was like a compulsive-lying drug-dealing punk rock Godfather to most of us young punks. If you had Orin on your side, things were ok and skinheads would probably not fuck with you. Hey man, I mean, he hung out with El Duce and shit. There was a sweet side to Orin.a big baby type of deal.and a really scary side to Orin too. Only those who had to deal with this bad side know. To those who did.my heart goes out to you.

Duane and Ian from The Derelicts 1991: By this time, the Jesters of Chaos had broken up, and Aspirin Feast just imploded like a toxic punk rock zit. All ages punk shows were getting harder to put on, because kids didn't want to behave, and alcohol is not exactly a mellow psychedelic. Last Gasp was ending it's patience with one another, and we too, by the end of 1991 had broken up in sad circumstances. Our lead singer Ajax had lost the will to be creative with us. Our bass player John started playing drums in a band called Sick And Wrong, known for their front-woman 'Mr. Wendy', who wore a strap-on flatulent penis.

Chris the drummer and I joined up with Robert Jenkins (Hells Smells), TV Kenly, Scott Marquardt, Brad Stevens, and Astrella Norell, our ages ranging from '19' to '50', in a seminal noise experiment called Officer Down. Looking back from a personal perspective, Officer Down just might have packed one hundred years of continuous drug and alcohol abuse for one person, into two years among seven people. Meeting the people mentioned above introduced me to a much wider social circle than before. This scene combined a select few from the upper echelon of Seattle rock royalty (Kim Thayil and Soundgarden), Jesse Bernstein (who sadly commited suicide two months after Officer Down was formed, halting the ongoing production of TV and Robert's never-released cinematic masterpiece 'Gorefest'), Richard Peterson (yes, Richard Peterson, the notable Seattle musician and Johnny Mathis super-fan), and people from new bands like 7 Year Bitch, DC Beggars, Alcohol Funnycar, and of course The Gits. A whole flux of people, many in their mid to late twenties, had flocked from the Midwest to Seattle.

Two notable areas of interest were Chicago obviously, and Antioch University in Ohio. Also, many Evergreen College alumni were involved in this scene. A lot of these people that I met were artists of a higher caliber than just playing in punk bands.

For a brief moment, most of the newer bands sounded more sophisticated than the hardcore bands. Even Officer Down had it's moments. Hands down, I considered The Gits to be the best out of us all back then. Carla from D.C. Beggars Now, this is the point when everything seemed to get the most negative, at least for me. The fast, fun speed and energy of punk rock dwindled until it sat like a pile of shit in the middle of a rendering plant.

Sure, some bands continued on playing with the same energy.bands like The Gits and the DC Beggars played semi-fast and made it sound fun and soulful at the same time. 7 Year Bitch took Selene Vigil's poetry and set it to mid-tempo polyrhythmic punk in a fully-realized original form that sounded like themselves and no one else. It was good to finally see local bands that sounded very different from one another. Officer Down went the other way- a way that I detested from the beginning.

Chris added sheet metal alongside his normal drum kit. Our band was so off-key at times, and possibly this could have been because everyone was always really fucked up. Sometimes, we practiced on acid, and things would get really weird.discordant, flat, and bitter. However, there were times when we played and things would just snap right into place. Smiles all around. During those times, we sort of sounded like Romeo Void on heroin. Other friends of ours from other bands were doing the same thing: playing slow industrial bottom-heavy, sawtooth-grinding metal and utilizing multimedia presentations simultaneously, like ChristDriver, formed by Eric Greenwalt after Subvert (from Tacoma) broke up.

One half of Aspirin Feast went on to form Laceration, a band that followed suit when all of the Napalm Death-influenced bands slowed down too. Bands like TCHKUNG!

Free Antivirus For Windows Xp 2002 Sp 200. Kickstarted the whole new Northwest industrial mud dance. This, in my opinion, was a step backwards into territory being previously explored by the forefathers of Grunge, and then maybe continuously explored too much, because most of us were too fucking STONED to pick our feet up out of the mud puddle. If I sound obnoxiously bitter, it's because I am.

Everyone's favorite band at the time, Neurosis, took most of my friends down into the dirt, rather than up in the sky to find a way to escape from the planet Earth. These were the gardeners of the punk scene, in my opinion, even though they are mighty talented at what they do, and have gone through hell like the rest of us to get to that point. I'm not knocking them.my tastes are not for everybody and to each their own.but I would say that almost everyone in my band and a lot of people that I knew wanted to get on this band's jock at the time. Our practice space became a noise club, where ten hour-plus industrial jams became the norm (and two members of Neurosis once participated in one of these jamsit's on some videotape sitting in a box in my closet as we speak). No songs were ever written from these jams.but you had people beating on anything they could find; four or five guitarists, all playing completely separate parts with different time signatures, maybe three tone-deaf bass players, three or four people screaming incoherently into rusty microphones. Truly, this was music of the mentally tortured.

I took part in maybe two of these jams, but ceased very quickly to be a part of these ear-splitting fuck-off fests. If only the Nazis would have allowed drum circles in their concentration camps. All in all, I would say that we got to play some pretty cool shows, went on tour, met some great people.

Other great bands, like Zulu Chainsaw, formed around this time. 1991 zoomed into 1992 like a blackout drinking binge.

1992 was the year that Jeffro from the Jesters Of Chaos died in a motorcycle crash, which hit very close to home for all of us who knew him. I can't say enough about how cool that guy was.

Stefanie Sargent of 7 Year Bitch died that year too. Officer Down heard the news while we were on tour. This kind of dampened our already dark souls even more. Even still, one of our favorite local punk bands, our friends Christ On A Crutch, broke up around this time.

7 Year Bitch, 1992. Many people from the Ohio contingent (The Gits etc.) all lived on Capitol Hill in Seattle. Some of those folks, like Mia Zapata and Julian Gibson of the DC Beggars lived in a house on 19th and Denny that they christened 'The Rathouse'.

The Gits and The D.C. Beggars started Rathouse Records to put out music made by their mutual friends' bands. Officer Down's only 7 inch came out on that collective label. Out of all the bands in our scene, The Gits were the powerhouse that was gaining the most momentum, along with Seven Year Bitch. Steve, Matt, Andy and Mia put out an LP on C/Z Records, Daniel House's label, and started doing quite well.

With all of the other popular Seattle gutter punk drizzling in one ear, out the other and into the gutter filled with dead punk rock overshadowed by Grunge, it was nice to see one of our favorite bands start doing well. The Gits were one of the most popular local bands and live acts in Seattle in 1992 going into 1993. They went on tour in Europe and the US.

They were even being courted by major labels. They probably would have followed Nirvana to influence budding male and female rock musicians alike on a global basis. I always dreamed that they would be huge. Most of us did. Everything changed for the worst on the morning of July 7, 1993. Mia Zapata was found raped and murdered on Capitol Hill.

This was the morning after a usual night spent hanging out with her friends at The Comet, a bar on Pike Street. TV Kenly, one of our lead singers, was the last one of our friends to see her alive, and did all that she could to try and talk Mia into staying the night at her apartment or catching a cab rather than walking. Mia, a tough independent spirit who took no shit and asked no quarter, refused. The way she was murdered was insane, very cruel, and immediately unreal to everyone. I went to her funeral along with the rest of my bandmates, because Robert said we should all go, but I felt like I didn't really have the right to be there. Within two weeks, every male within our community was a prime suspect. The remaining Gits hired detectives to find Mia's killer.

Immediately, anyone connected or close to Mia was interviewed at least once or twice by detectives. I was one of the people interviewed, at The Comet, while being recorded, along with everyone else in Officer Down, the whole Rathouse crew, Mia's close friends, and the usual suspects. This made most of us question our existence, and made the process of continuing to make any kind of music very confusing and sad. Mia was definitely one of a kind. She could also get crazy when she was drunk. We all had some good times that revolved around Mia.

What a talented force to be reckoned with. She inspired all of us to be better than we were musically, as she was one of the more truly talented people among us. One of the last conversations that I had with her was at a party two days before she died. The pep talk that she gave me was a stern warning that she felt that I was more talented than the music that I was playing at the time, and that I should follow my heart more. It still chills me that she gave me that talk. I will never forget her interest in my artistic welfare, and how much pride it gave me to go on, when I really didn't have much at the time. Her talk helped me get through the 90's more than she will ever know.

I was blessed to be one of her acquaintances for the two years that I knew her. They found Mia's killer in 2003 and sentenced him to 36 years in prison. Hopefully this is long enough, that if he ever gets out alive, he'll be too old to ever kill again. During that whole time, our leader and mentor Robert Jenkins was accused as a main suspect due to his romantic relationship with Mia over most of the two years of Officer Down's existence.

All of the media coverage about Robert being a suspect affected him very badly, and made our band a real bummer to be in at the time. Everyone seemed guilty for no reason. I even caught myself wondering if I was responsible just because I was a man. Then, about a month later, Robert thought up some plan where all of us were going to sell mushrooms grown in horse shit to fund the recording of our new album. The other plan was to dress up in army fatigue uniforms with all of us holding guns so as to avenge Mia's murder. This image was supposed to go on the cover. I couldn't tell if Robert was joking, as he was prone to time and time again with a twisted ironic sense of embracing the worst scenario possible.

If this was a joke or not, I wanted no part of it regardless. We were supposedly going to call the album 'Purveyors Of Justice' or some bullshit like that. I had reached my limit, and was the first to quit the band by the end of the summer.

Chris followed suit a week later. After that experience, I went back to listening to plain old rock and roll. I formed a few projects for about a year, got kicked out of bars and parties a lot, and by 1994, I eventually joined as a replacement guitarist in a long-time running prog-punk band from Tacoma called My Name. This enabled me to continue playing shows regionally. The Seattle hardcore punk scene was still kicking ass and taking names by 1994-95, even after the terrible sadness surrounding Kurt Cobain's suicide and Mia's murder. The Lake Union Pub was still having shows. Bands like Bristle, Monster Truck Driver, Whorehouse Of Representatives, Shug, Bone Cellar, The Piss Drunks, Inhumane, Patchouli Sewer, 66 Saints, The Kent 3, The Vaccines, and the faster-meaner-than-shit ZEKE played there, and all were doing very well on D.I.Y.

By 1996, I stopped keeping track of a lot of the old people, since the past was so painful. That year ushered in the newer Seattle bands making it worldwide, like The Presidents of The U.S.A.' S popularity peak that same year, along with the Foo Fighters gaining massive attention (including Nate Mendel, previously with Christ On A Crutch, on bass). As for me, My Name auditioned for Capitol Records in 1995 and Interscope in 1996, with Hollywood muscle backing us upbut the stars were not aligned enough for us to sail the cosmic battleship to stardom. The same thing happened another excellent band from Tacoma called Seaweed. Needless to say, I gained a newfound respect for bands like Pearl Jam.

In many ways, they had it much tougher than us. It's not easy to be rich and famous from what I hear. Our goals pretty much changed, especially after going through what our music community had to endure through the tragedies. These tragedies happen in all walks of life, but these same issues can be sensationalized beyond belief in a music community, since it is all based on entertainment in one way or another. A lot of us grew up, and just disappeared, or you would see us hanging out at the punk rock baseball league games that people starting organizing in the early 90s. You'd see us in the stands drinking a lot of Schmidt Beer in cans.

Lots of people that I knew got into heroin. Nothing newpretty pathetic. Some musicians get into music to get into heroin, so I'm not sure what to think about that. My first real girlfriend from high school, later Ajax's girlfriend Jennifer Justus, became addicted, along with our friend Shannon McNamara. Jennifer was eventually murdered in the late 90s by a serial killer who picked up prostitutes. She was found in the woods along I-90 near North Bend WA. Singles Happy End Rarlab more.

Shannon cleaned up for a while and became Legs McNeil's girlfriend in New York. We later learned that tragedy struck after she relapsed and died from a fatal flesh-eating bacterial infection while using a bad needle. Someone someday will write part three and part four of this series, with all of the bands that rocked the Storeroom Tavern, Uncle Rocky's, the Rebar, Chicago's next to the Key Arena, the China Club, etc.but the real future of Seattle's hardcore punk scene is a little place next to the Space Needle called The Funhouse.

This might be the only place left in town where you can intimately see the crux of the new and old punk and crust core bands from America and Europe coming to visit on reunion toursand sometimes you might get the chance to witness the pushing, shoving and circle dancing part of punk that was so fun and funny in the first place. You'll find all the hillbilly punks hanging out at Slim's Last Chance Chili, the Nu Metal crowd (all ages or 21+) down at El Corazon or Studio 7, stoner bands at The Comet, bigger National acts at Neumo's and The Crocodile, a straight up mix of all kinds of bands in Ballard (The Sunset, The Tractor), the Skylark in West Seattle, and don't forget Darrell's up in Shoreline. As for most all ages hardcore punk rock shows (whatever that description might entail), it's not looking too good around here. Maybe this will change. The Misfits logo will always look cool on a hoodie.and so our future generations will always latch onto classic punk with spike-gloved hands.

Hey kids.keep forming bands!! (Ha ha.like I'm some kind of armchair authority on the subject). After getting back from a tour one time in 2001, as I was walking through the Greenlake area, I ran into Orin.the Seattle punk rock king.twelve years after I met him originally. He always talked like a toothless pirate, which was always endearing.

'HEY FREDDIE, WHA'S UP? HOW YOU DOIN' BUDDY?' , 'Doing good.just got back from a tour.' HEY MAN, SO DID I. I WAS ROADYING FOR TINA TURNER.' I assumed that Orin was lying out of the few teeth that he had left.OR WAS HE? Three days later, Orin and Pete of Seismic Sound died in a van crash.

They both were coming back from an out-of-town show when whoever was driving (most likely Orin) fell asleep and and crashed into an embankment. The equipment in the back crushed Pete to death on contact.

Bleeding from massive internal injuries, Orin climbed out to the highway to flag down help, and then died on the scene. I feel like the all-but-forgotten Seattle hardcore punk rock scene died along with him that night.but I am sure that there are existing argumentative contenders for this sort challenge. Prove me wrong, and keep it real. Punk's not deadit's just back at the bottom of the pile, where it belongs. ** Very sad to say, Robert Jenkins, my former bandmate/ guitar partner in Officer Down, a Vietnam veteran, a hero to many, a great artist with an abstract mind and a master of all things absurd, died on his birthday December 29, 2011.

I'll miss you Robert. Thanks for believing and telling me that I was some sort of a genius, even when I could never live up to it. In the words of Robert Jenkins, aka Buzz Gundersun, 'Party or die!!' **END NOTE: Also, this article, along with Part One, was originally written by me in 2008 as a disjointed, drunken, rambling MySpace blog with many misspellings and incoherent sentences. I have re-evaluated and edited and/or added some parts to make the story tell itself more cohesively for the year of 2012. Believe me, this version is better than the one it used to be. Thanks to Dan Halligan for use of the pictures.

About the author: FRED SPEAKMAN has been a local gigging Seattle guitarist/ keyboardist for the past 23 years since the age of 17. He has been a member of bands: Last Gasp, Officer Down, My Name, Disaster Piece, The Droo Church, Horrible, Zero Down, Midnight Idols, The Beltholes, The Shivering Denizens, The Riffbrokers and about 10 other bands and even more side projects that he cannot remember the names of right now. As of this writing, he is in a band called Gold Records, another one called The Rags, and after 23 years, he is still a member of the original line-up of Last Gasp. He lives in Seattle WA.

Photo's by Dan Halligan. Gettin Loud n Local With Jolene Featuring all Pacific Northwest rock is something we have in common with one of our favorite radio shows on the dial. KISW’s Loud and Local on Seattle’s 99.9 FM hosted by the always rockin’ Jolene features and supports local music exclusively from the Puget Sound area. Talking with musicians and bands around town about local radio support, it becomes pretty evident the role Jolene plays in the Seattle music scene, how popular Loud and Local has become and how appreciative the bands are to have Jolene on their side. Jolene also features KISW’s “cockfight’s” Loud and Local version which pairs up local artists, plays a song from each then has the listeners vote on which song they liked the best, the band receiving the most votes moving on to the next round. Jolene explains, it’s not really a competition, more of a way to get the local artists music out there and at the same time giving the listeners and fans a chance to interact with each-other and the bands.

Nobody really loses, each band gets their music played on air-in front of KISW’s large listener base and everyone wins. Here’s our interview with KISW’s Jolene.

April and Tracey caught up with Jolene at the Zero Down CD release show at The Sunset Tavern. So how did your Loud and Local show come about? I actually wasn't the first one to originate it. KISW has always had local shows or shows that showcase local artists for decades now, I took it over in March of 2006 and it’s just been phenomenal. I make the joke that it’s my “pro-bono” stuff but it’s what really replenishes me as somebody that loves music. How do you pick your featured artists?

You know what-my biggest thing is I want to be really fair with everybody. There’s no playing favorites, I want to provide something for like, if you like the more mainstream sound-here’s a band for this, if you like more metal, here’s this, if you like something that's more punk leaning, here’s this, if you like something that’s more vintage metal, here’s this. I try to provide a selection of all those things. What do you like best about the Seattle music scene? The camaraderie. It’s the best!

It means so much and it’s the way everyone supports one and other. When I’ve done the 9:00 cockfight Loud and Local version, when I play two bands, say one is from Tacoma and one is from Seattle and there’s some similarities there, after the cockfight they end up booking a show together and their fan bases get a chance to cross pollinate. I’ve seen it happen and think that’s pretty cool. What are a few of your most memorable highlights to date working at KISW, bands or musicians you hung out with, shows, ect? Where to begin!

Chatting up or interviewing: Bruce Dickenson, Rob Halford, Lemmy, Ozzy, Soundgarden n’ AIC guys. There have been many a good times over the last 7.5 years.

Some of the most magical have been little shows with great friends. Seeing bands within the local scene get really get tight and become families with one another always sends me over the moon! Are there a few local bands you can think of off the top of your head that maybe not a lot of people have heard locally or nationally but you love and feel they have the potential bust out someday soon?

Sure, in no particular order. Reignwolf, Sweetkiss Mamma, Mico De Noche, The Mothership, Girl On Fire, Christian Mistress, Elks Blood, Jason Kertson, Sandrider, Hobosexual, Palooka, Countdown To Armageddon. Just to name a few great locals to check out. I would personally like to see some of that bands that have gone on to big things from this area start to bringing along some of the local smaller bands on tours, or shared show dates to help kind of 'give back' to the music scene here. Soundgarden bringing out, maybe All Bets on Death, ect. What are your thoughts on that subject, are the bigger bands still active or active enough with our music scene here in Seattle?

Of course it would be great! Queensryche took out Windowpane, Supersuckers taking out The Spittin’ Cobras.

If it’s our big local guys, awesome. But getting out on tours with larger scale bands is always huge, local or not. Talking to a lot of people out at shows and in the music community, Loud and Local is definitely one of the more talked about and popular radio shows right now. Are there any plans or thoughts on expanding the shows role on KISW or even putting it on in more of a prime time slot? For now I work with what I got. The beauty of this day and age is that the show is posted online within 24 hrs of it airing.

You can listen to it whenever you like. I’ve got podcasts that go back, way back! If a local band or musician wants to submit music to Loud and Local how do they go about that and do you have any advice for getting some radio airplay? Follow the directions to submit. Send a note with track suggestions and list which songs have profanity.

It doesn’t matter if it’s a slick press pack or just a CD with a letter attached.follow the directions! Have I said follow the directions enough? It’s kind of an issue! Then allow a few weeks and follow up with an email. Be patient for I wear many hats here at KISW.

Here’s the link! Thank you for the chat Blackhole Magazine you are doing some damn fine work! Cheers, Jolene.