Fat Wreck Chords
Fat Wreck Chords is a San Francisco, California-based independent record label, focused on punk rock. It was started by NOFX lead singer Michael Burkett and his girlfriend at the time, Erin Burkett, in 1990; the label has released material for many notable bands including NOFX, Good Riddance, Descendents, Me First and the Gimme Gimmes, The Loved Ones, Screeching Weasel, Rise Against, Strung Out, No Use for a Name, Less Than Jake, Against Me!, Hi-Standard and Anti-Flag. Fat Wreck Chords has released 157 studio albums to date; the label was started by Michael Burkett and his girlfriend at the time, Erin Burkett, in 1990. Michael wanted a label that would represent himself, signing only bands he liked and that had similar beliefs. In the beginning Erin would handle mail when Michael was on tour; the operation moved into its own office around 1993. The label grew during the 1990s selling over a million records per year, it had four offices. A documentary about Fat Wreck Chords called'A Fat Wreck' was released on October 25th, 2016.
One somewhat uncommon and defining characteristic of Fat Wreck Chords is that they only sign one-record deals with bands. This allows the bands working with Fat Wreck Chords to have a choice as to if and when they want to put a record out on the label. In some cases, bands have released albums on Fat Wreck Chords but on other labels; the label has never been a member of the Recording Industry Association of America as indicated on the asked questions portion of the label's website: "Are we a member? Not only no, but FUCK NO! We spent three years having our label's name removed from their members list. A year went by our name showed up again on their fucking list! Who are these sonsabitches?! Needless to say, we're in the process of having our name removed again, but they aren't being too cooperative." Many bands on this label participated in the campaign Punkvoter, started by Fat Mike and attempted to encourage the youth in the U. S. to vote in the 2004 U. S. presidential election for John Kerry and against George W. Bush.
The label has had two subsidiaries over Honest Don's and Pink & Black. Honest Don's released records from Chixdiggit and Teen Idols amongst others, while Pink & Black released albums from female-fronted bands like Fabulous Disaster and Dance Hall Crashers. Fat Mike advanced $50,000 to Chris Hannah and Jord Samolesky of Propagandhi which he recouped within months from sales of Propagandhi records to help them start up their own label, G7 Welcoming Committee, though G7WC is independent from Fat Wreck. Fat Wreck Chords releases compilation albums to promote bands signed to the label, but since 2003, to raise funds for various charities; the earliest Fat Wreck Chords compilations all have titles with some reference to fatness. Shortly after Fat Music Volume IV was released, Fat Wreck Chords released a titled album, Short Music for Short People, which features 101 songs, all averaging 30 seconds; the shortest song is only eight seconds, the longest is 40 seconds. Some of the songs were commissioned and recorded for the album, while others were from the bands' pre-existing repertoires.
Since the last Fat Music album has been released, the Fat Wreck Chords compilations have been explicitly for charitable causes. Liberation: Songs to Benefit PETA is a benefit album for the animal rights organization PETA, PROTECT: A Benefit for the National Association to Protect Children is a benefit album for the children's rights group PROTECT. Between Liberation and PROTECT, two other compilation albums were released in protest of President George W. Bush and his administration: Rock Against Bush, Vol. 1 and Vol. 2. To celebrate 20 years of business Fat Wreck Chords released the 3-disc Wrecktrospective compilation on December 8, 2009. Disc 1 is composed of the label's greatest hits, disc 2 is composed of unreleased demos and rarities, disc 3 is composed the Fat Club 7" series in its entirety. Live in a Dive is a series of live albums recorded by Fat Wreck Chords. In order of release: In addition to the Live in a Dive series, Fat Wreck Chords released the Fat Club series of 7" vinyl records during 2001.
The series was only available to mail-order subscribers. Fat Wreck Chords did not publish any information on the upcoming releases so subscribers would not know what they were about to receive until the record arrived in the post. Although the Fat club series was limited to 1,300 copies for each single, the songs contained on the records were released as the third disc of the Wrecktrospective collection. List of Fat Wreck Chords compilation albums List of record labels Official website Unofficial Fat Wreck Wiki site
The Inland Empire is a metropolitan area and region in Southern California. The term may be used to refer to the cities of western Riverside County and southwestern San Bernardino County, sometimes including the desert communities of Palm Springs and the rest of the Coachella Valley; the U. S. Census Bureau-defined Riverside–San Bernardino–Ontario metropolitan area, which comprises Riverside County and San Bernardino County, covers more than 27,000 sq mi and has a population of 4 million. Most of the area's population is located in southwestern San Bernardino County and northwestern Riverside County. At the end of the nineteenth century, the Inland Empire was a major center of agriculture, including citrus and winemaking. However, agriculture declined through the twentieth century, since the 1970s a growing population, fed by families migrating in search of affordable housing, has led to more residential and commercial development; the term "Inland Empire" is documented to have been used by the Riverside Enterprise newspaper as early as April 1914.
Developers in the area introduced the term to promote the region and to highlight the area's unique features. The "Inland" part of the name is derived from the region's location, about 60 miles inland from Los Angeles and the Pacific Ocean; this area was called the Orange Empire due to the acres of citrus groves that once extended from Pasadena to Redlands during the first half of the twentieth century. The Inland Empire is a nebulous region, but is defined as the cities of western Riverside County and the cities of southwestern San Bernardino County. A broader definition will include the desert community of Palm Springs and its surrounding area, a much larger definition will include all of San Bernardino and Riverside counties. What is now known as the Inland Empire was inhabited for thousands of years, prior to the late eighteenth century, by the Tongva and Cahuilla Native Americans. With Spanish colonization and the subsequent Mexican era the area was sparsely populated at the land grant Ranchos, considering it unsuitable for missions.
The first American settlers, a group of Mormon pioneers, arrived over the Cajon Pass in 1851. Although the Mormons left a scant six years recalled to Salt Lake City by Brigham Young during the church's Utah War with the US government, other settlers soon followed; the entire landmass of Southern California was subdivided according to the San Bernardino Meridian, first plotted as part of the Public Land Survey System in November 1852, by Col. Henry Washington. Base Line road, a major thoroughfare, today runs from Highland to San Dimas, intermittently along the absolute baseline coordinates plotted by Col. Washington. San Bernardino County was first formed out of parts of Los Angeles County on April 26, 1853. While the partition once included what is today most of Riverside County, the region is not as monolithic as it may sound. Rivalries between Colton, Redlands and San Bernardino over the location of the county seat in the 1890s caused each of them to form their own civic communities, each with their own newspapers.
On August 14, 1893, the state Senate allowed Riverside County to form out of land in San Bernardino and San Diego counties, after rejecting a bill for Pomona to split from L. A. County and become the seat of; the arrival of rail and the importation of navel and Valencia orange trees in the 1870s touched off explosive growth, with the area becoming a major center for citrus production. This agricultural boom continued with the arrival of water from the Colorado River and the rapid growth of Los Angeles in the early twentieth century, with dairy farming becoming another staple industry. In 1926, Route 66 came through the northern parts of the area, bringing a stream of tourists and migrants to the region. Still, the region endured as the key part of the Southern California "citrus belt" until the end of World War II, when a new generation of real-estate developers bulldozed acres of agricultural land to build suburbs; the precursor to the San Bernardino Freeway, the Ramona Expressway, was built in 1944, further development of the freeway system in the area facilitated the expansion of suburbs and human migration throughout the Inland Empire and Southern California.
The region experienced significant economic and population growth through most of the latter half of the twentieth century. In the early 1990s, the loss of the region's military bases and reduction of nearby defense industries due to the end of the Cold War led to a local economic downturn; the region as a whole had recovered from this downturn by the start of the twenty-first century through the development of warehousing, shipping and retail industries centered around Ontario. However, these industries have been affected by the Great Recession. Physical boundaries between Los Angeles and the Inland Empire from west to east are the San Jose Hills splitting the San Gabriel Valley from the Pomona Valley, leading to the urban populations centered in the San Bernardino Valley. From the south to north, the Santa Ana Mountains physically divide Orange County from San Bernardino and Riverside Counties; the Santa Rosa Mountains, as well as the Southern California portion of the Sonoran Desert, physically divide Riverside County from San Diego County.
Some definitions for the IE consist of the Chino Valley, Coachella Valley, Cucamonga Valley, Menifee Valley, Murrieta Valley, Perris V
Don't Turn Away
Don't Turn Away is the first album by the American punk rock band Face to Face. It was released in 1992 under the label Dr. Strange Records, was considered a strong debut for the band, it was re-released a year on Fat Wreck Chords. Two years "Disconnected", the album's third track, was re-recorded for the band's second album Big Choice, their then-label A&M Records wanted the band to re-record it, because no one could "hear a single" until the L. A. radio station KROQ first played it. All songs by Keith, Riddle "You've Done Nothing" – 1:59 "I'm Not Afraid" – 2:44 "Disconnected" – 3:27 "No Authority" – 2:42 "I Want" – 3:00 "You've Got a Problem" – 2:47 "Everything Is Everything" – 3:08 "I'm Trying" – 2:52 "Pastel" – 3:13 "Nothing New" – 3:26 "Walk Away" – 2:09 "Do You Care?" – 3:01 "1,000 X" – 2:32 "Who You Are" – 1:56 "Don’t Turn Away" – 2:47 Face To Face - producer Trever Keith - guitar, vocals Matt Riddle - bass, Backup vocals Rob Kurth - drums Jim Goodwin - engineer Donnell Cameron - engineer John Golden - mastering Mike Brooling - sequencing Singles - Billboard
Me First and the Gimme Gimmes
Me First and the Gimme Gimmes are a punk rock supergroup and cover band that formed in San Francisco in 1995. The Gimmes work as a cover band, they specialize in rapid-fire punk interpretations of a wide range of songs with a humorous edge. The band is named after a children's book of the same name by Gerald G. Jampolsky and Diane V. Cirincione; the band's first release came with 1995's Denver, a 7" single released on band member Fat Mike's record label Fat Wreck Chords, featuring two John Denver covers. The band released four more singles in 1996 and 1997, each on a different label and named after the artist covered on that particular release, as well as some compilation appearances, their first full-length album, Have a Ball, was released July 29, 1997. Each album by the band has a different theme: Have a Ball focuses on classic 1960s, 1970s, early 1980s songs by singer/songwriters like Elton John, Neil Diamond, John Denver, their fifth album Ruin Jonny's Bar Mitzvah consists of pop music from the 1960s through the 1980s by artists such as REO Speedwagon and The Beatles, as well as traditional songs like "Hava Nagila".
The compilation album Have Another Ball! Features 60's-80's classics; the band entered the studio on April 3, 2006 to work on their sixth album, Love Their Country, released on October 17, 2006. The theme of this album is country and western, includes covers of tracks by Dixie Chicks, Garth Brooks, Hank Williams, Sr. and Johnny Cash. Prior to the release of the album, Fat Wreck Chords released a digital label sampler, iFloyd which included " Riders in the Sky" by the band. In late 2006, Fat Wreck Chords released another digital label sampler Christmas Bonus, containing a previously-unreleased cover of Steve Goodman's "City of New Orleans". In August 2006 Me First and the Gimme Gimmes were scheduled to play three dates at PNC Park after Pirates games, but after they got booed on the first night, the next two nights were cancelled, they were to play along with fireworks during the post-game "Skyblast" shows. On December 5, 2007, Fat Wreck Chords released a flash MP3 holiday bonus sampler called Hanuk-Comp containing "The Boxer" released on the 1997 Garf single.
There is a downloadable podcast that features commentary from Fat Mike and Floyd during breaks between songs in which the next album is revealed. The compilation Have Another Ball! was released on July 8, 2008. Fat Wreck Chords released Go Down Under on February 1, 2011, featuring covers of 5 songs by Australian artists. On September 13, 2011 Fat Wreck Chords released a 5-song EP. In a Reddit AMA on January 28, 2014, Fat Mike revealed the next album theme would be "Divas". Featuring covers of Barbra Streisand, Christina Aguilera and Lady Gaga, Are We Not Men? We Are Diva! would be released on May 13, 2014 on Fat Wreck Chords. On November 30, 2018, they released a cover of "Santa Baby". Spike Slawson – lead vocals Fat Mike – bass, backing vocals Chris Shiflett – lead guitar, backing vocals Joey Cape – rhythm guitar, backing vocals Dave Raun – drums"Fill-in" members for tours Brian Baker filled in for Shiflett in 2006. Chris Shiflett's brother, Scott Shiflett, has been filling in for him on the band's most recent tours.
NOFX guitarist Eric Melvin filled in for Fat Mike on bass during the 2007 European tour and 2008 and 2013 Australian tours. Adam Stern from Youth Brigade and Royal Crown Revue filled in for Fat Mike on bass. Warren Fitzgerald of The Vandals & Lindsay McDougall of Frenzal Rhomb filled in on guitars during the band's participation in the 2003 Livid Festival in Australia. Since 2014, Jay Bentley of Bad Religion has been the usual "fill-in" member on bass for Fat Mike. On the Spring 2017 tour, Chris Cheney of The Living End and Lindsay McDougall of Frenzal Rhomb filled in on guitar for Chris Shiflett. On their first South America tour in April 2018, Lindsay McDougall of Frenzal Rhomb filled in on guitar for Chris Shiflett. Christopher Ward, aka CJ Ramone joins playing bass guitar in this Summer Tour 2018. Invited by Jay Bentley The Gimmes have a gimmick of wearing quirky matching costumes during their live shows; some of the themes match the albums, such as when they dress in cowboy outfits to accompany the album Love Their Country or in drag as various characters from musicals in Are a Drag.
They have worn pajamas, red suits, cheerleader outfits, shiny suits and fezzes, during one show in Camden, NJ on the Warped Tour, dressed as the band AFI. The most common and popular costume set are their matching Hawaiian shirts of varying styles and colors over the years. Have a Ball Are a Drag Blow in the Wind Take a Break Ruin Jonny's Bar Mitzvah Love Their Country Have Another Ball Are We Not Men? We Are Diva! Rake it In: The Greatestest Hits Fat Wreck Chords label official web site "Allmusic entry
A pulley is a wheel on an axle or shaft, designed to support movement and change of direction of a taut cable or belt, or transfer of power between the shaft and cable or belt. In the case of a pulley supported by a frame or shell that does not transfer power to a shaft, but is used to guide the cable or exert a force, the supporting shell is called a block, the pulley may be called a sheave. A pulley may have a groove or grooves between flanges around its circumference to locate the cable or belt; the drive element of a pulley system can be a rope, belt, or chain. Hero of Alexandria identified the pulley as one of six simple machines used to lift weights. Pulleys are assembled to form a block and tackle in order to provide mechanical advantage to apply large forces. Pulleys are assembled as part of belt and chain drives in order to transmit power from one rotating shaft to another. A set of pulleys assembled. Two blocks with a rope attached to one of the blocks and threaded through the two sets of pulleys form a block and tackle.
A block and tackle is assembled so one block is attached to fixed mounting point and the other is attached to the moving load. The ideal mechanical advantage of the block and tackle is equal to the number of parts of the rope that support the moving block. In the diagram on the right the ideal mechanical advantage of each of the block and tackle assemblies shown is as follows: Gun tackle: 2 Luff tackle: 3 Double tackle: 4 Gyn tackle: 5 Threefold purchase: 6 A rope and pulley system—that is, a block and tackle—is characterised by the use of a single continuous rope to transmit a tension force around one or more pulleys to lift or move a load—the rope may be a light line or a strong cable; this system is included in the list of simple machines identified by Renaissance scientists. If the rope and pulley system does not dissipate or store energy its mechanical advantage is the number of parts of the rope that act on the load; this can be shown. Consider the set of pulleys that form the moving block and the parts of the rope that support this block.
If there are p of these parts of the rope supporting the load W a force balance on the moving block shows that the tension in each of the parts of the rope must be W/p. This means. Thus, the block and tackle reduces the input force by the factor p; the simplest theory of operation for a pulley system assumes that the pulleys and lines are weightless, that there is no energy loss due to friction. It is assumed that the lines do not stretch. In equilibrium, the forces on the moving block must sum to zero. In addition the tension in the rope must be the same for each of its parts; this means that the two parts of the rope supporting the moving block must each support half the load. These are different types of pulley systems: Fixed: A fixed pulley has an axle mounted in bearings attached to a supporting structure. A fixed pulley changes the direction of the force on a rope or belt that moves along its circumference. Mechanical advantage is gained by combining a fixed pulley with a movable pulley or another fixed pulley of a different diameter.
Movable: A movable pulley has an axle in a movable block. A single movable pulley is supported by two parts of the same rope and has a mechanical advantage of two. Compound: A combination of fixed and movable pulleys forms a block and tackle. A block and tackle can have several pulleys mounted on the fixed and moving axles, further increasing the mechanical advantage; the mechanical advantage of the gun tackle can be increased by interchanging the fixed and moving blocks so the rope is attached to the moving block and the rope is pulled in the direction of the lifted load. In this case the block and tackle is said to be "rove to advantage." Diagram 3 shows that now three rope parts support the load W which means the tension in the rope is W/3. Thus, the mechanical advantage is three. By adding a pulley to the fixed block of a gun tackle the direction of the pulling force is reversed though the mechanical advantage remains the same, Diagram 3a; this is an example of the Luff tackle. The mechanical advantage of a pulley system can be analyzed using free body diagrams which balance the tension force in the rope with the force of gravity on the load.
In an ideal system, the massless and frictionless pulleys do not dissipate energy and allow for a change of direction of a rope that does not stretch or wear. In this case, a force balance on a free body that includes the load, W, n supporting sections of a rope with tension T, yields: n T − W = 0; the ratio of the load to the input tension force is the mechanical advantage MA of the pulley system, M A = W T = n. Thus, the mechanical advantage of the system is equal to the number of sections of rope supporting the load. A belt and pulley system is characterised by two or more pulleys in common to a belt; this allows for mechanical power and speed to be transmitted across axles. If the pulleys are of differing diameters, a mechanical advantage is realised. A belt drive is analogous to that of a chain drive. In the case of a drum-style pulley, without a groove or flanges, the pulley is convex to keep the flat belt centred, it is sometimes referred to as a
Punk rock is a rock music genre that developed in the mid-1970s in the United States, United Kingdom and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.
Musical virtuosity was looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".