Official Skafish Blog

I always find homophobia, especially in America, to be a combination of two extremes: the laughably absurd, and the terrifyingly tragic.

Absurd, when we see homophobic athletes hugging each other tighter than they’d ever with a woman, gently patting each other’s asses all game long, and even kissing, all under the guise of being absolutely straight “real men” together at war!

Tragic, in the case of the countless men who have been murdered, harassed, etc. because of being gay, or even for just being perceived to be. Of course, the Matthew Shepard murder is one of the first to come to mind. I’m sure most of you know the case, where twenty-one-year-old Matthew was brutally murdered in Wyoming simply because he was gay.

I was also quite emotionally struck by the suicide of Carl Joseph Walker-Hoover, an eleven-year-old Massachusetts boy who killed himself because he could no longer take the bullying and taunts of his classmates for being perceived as being gay. Right before his twelfth birthday in April, 2009, he hung himself because of almost an entire year of daily harassment, where of course, the school did nothing about it. I wrote an essay about it here on my blog entitled Still, there’s no liberation here.

So in the seemingly endless struggle for gay people to have equal rights in a country that prides itself on equality but doesn’t legislate or live it out, here is the latest installment in Mom’s Apple Pie homophobia:

A dating website dedicated to gay men called mancrunch.com recently submitted an ad to be run during the Super Bowl of 2010. In it, two regular looking guys, wearing different football jerseys suddenly realize their attraction for each other as their hands gently touch in a snack bowl while watching the big game. Then, they start mock-madly hugging/kissing, while a male friend of theirs looks on with his jaw on the floor.

Well, of course, CBS television rejected the ad – as if any of us couldn’t predict that one, lol. CBS claimed that they just weren’t sure of mancrunch.com’s financial holdings. Conversely, a representative for the website says that they have more than enough cash to pay for the ad. We all know the real reason why CBS cited financial concerns. Even though they won’t cater to gays and lesbians for this ultimate testosterone muscle-flexing fest, they certainly don’t want to offend them, either. So I’m sure there was some hush-hush meeting behind closed doors where executives deduced that the only safe way to nix the ad (without experiencing the backlash of the national and international gay community) was to express financial concerns — as if a gay check wouldn’t clear the bank in the same way a straight check would, lol.

From a business point of view, both CBS and mancrunch.com are acting smart, and handling this in ways that benefit their respective interests. In the case of CBS, running that ad would mean that they would receive countless complaints, idiotic boycotts by religious housewives, and a lot of sensationalistic pseudo-media controversy. The network would take a strong financial hit as advertisers would frantically pull their dollars like scurrying cockroaches that have just been hit by roach spray when the lights are turned on.

Imagine if the ad actually ran: regular beer drinking jocks all across this country would be saying, “What the fuck, man, what is this mother fucking bull shit – two dudes, kissing!?” Perhaps, hoards of television patrons may even turn off their TV sets in disgust, pray to Jesus a while to purify themselves as if they were washing away cooties on their skin, while the good ole’ boys could run out and get drunk to find some man-validating pussy.

We’ve all seen how the religious right can create such a stir by boycotting products. With their shrill, relentless, judgmental voices, they intimidate sponsors and television networks into conforming to their uptight, hateful values. Imagine the family scene with little toddlers in front of the TV, as their parents and grandparents gasp in utter panic as two men show sexual/ romantic interest in each other. CBS shows would be boycotted all across this country as fast as one could say “In the name of Jesus,” alongside similar threats to any sponsor’s products that advertised on the network.

Mancrunch.com’s strategy is simply brilliant because it’s presumable that they knew that this ad would never get on CBS television for the super bowl. However, in submitting it, the media is already extensively covering this story. This brought a huge amount of traffic to their website, which is exactly what they wanted. Whether they paid for the ad to run during the super bowl or just reaped the cost-free benefits from the exposure they’re getting in the media, they can’t lose, as this ad certainly went viral and brought a huge boost to their client base.

Here’s the proof: First, it made a splash on the internet Then, in recent days leading up to the Super Bowl, Larry King Live covered this story where they aired the ad, along with people on both sides of the issue who debated the whole ordeal. In that show, a representative of mancrunch.com claimed that they’ve had 50 thousand new subscribers sign up in just the past week, obviously from all the attention this story has gotten.

For the Super Bowl, CBS is willing to run a Pro-Life ad featuring some down-home boy-next-door heartland college quarterback in it. Yet, if they want to run such a divisive ad (as this country is so split on abortion), so be it – but then let the mancrunch.com ad run, too. There was an article that stated that CBS worked with the organization doing the pro-life ad for months, but the Mancrunch ad did not get that same consideration.

So as we see that even in 2010, prejudice, homophobia, and the divisive, hateful qualities of traditional America are still well in toll. In my case, not only was I abused virtually every day of my 12 years in school for being perceives as being gay, called a “faggot,” attacked mercilessly by both students and shockingly, even teachers as well. The abuse didn’t stop there: When I entered the world of rock n roll, I naively thought I had found a home. How wrong I was, as rock n roll, especially punk, is a very conservative, narrow-minded art-form.

My contributions to Chicago and the world’s musical history have been virtually erased, especially by the punk community, which is just as myopic in its vision as 1970’s corporate arena rock was. When I created punk, new wave and alternative in Chicago and broke all the rules both musically and visually, there was one big problem: I could be perceived as a faggot. Besides gender bending, I presented one of the most ugly, unflattering, unattractive physical presentations in rock history – and Chicagoans, at large, weren’t having it. Whether it was me stripping down to an old, musty one-piece old-ladies bathing suit with babushka, or people seeing my actual breasts, the punk community, especially in Chicago, couldn’t deal with it.

David Witz, a writer for the Chicago Reader wrote in February 1978 about the terror of a “faggot” like me actually representing Chicago. As truth be told, I was the only Chicago artist back then to take it to the national and international stage and was the first American artist to secure a recording contract with one of the most influential record labels of all time to the birth of punk, new wave and alternative music, IRS Records. Witz begged people to boycott my performances and flee from seeing me.

It didn’t stop there: over thirty years later in the historically inaccurate Chicago punk documentary You Weren’t There, released in 2007, my musical contributions to Chicago and world culture were purposefully and completely erased. Because of the gender-phobia/perceived as gay/not being visually stereotypic issues, instead of receiving credit for what I accomplished and started musically, I was lumped in with fringe local performance artists. Websites such as the Chicago punk data base have trivialized and marginalized what I’ve done as an artist, saying I wasn’t really punk.

It’s just the same old homophobia I experienced in my high school locker room, except now, it is by the rock and punk community who bend history more than I ever did with gender. It gives me renewed meaning as to why I wrote such protest songs as No Liberation Herein the first place.

February 6th, 2010
Categories: Musings, News . Author: Skafish . Comments: No Comments

We tend to think of acoustic musical instruments as somehow being natural and organic: like a piano, acoustic guitar, violin, and a drum kit – but in reality, are they really? Why are the steel pieces of a drum kit natural? How about the wood of an acoustic guitar? What’s organic about the cast iron that’s used in a piano?

Over the last centuries, we’ve seen an evolution involving materials that are used in the making of music: whether it is the hammers and ivory of a piano to the heavy duty strings of an upright bass, or even the enormous machinery of a massive pipe organ. Could there have been purists even back then who thought it was anti-human to produce music using anything other than the only true natural instruments that exist on earth: the human voice and the sounds of nature?

Then, after electricity came along, we saw the whole game change in the 20th century: microphones could amplify the voice and alter its quality; performances could be recorded and reproduced. Was it natural to amplify the human voice? Couldn’t a purist have thought it hypocritical for some machine to make a person sound artificially louder than they were actually singing?

Imagine how some may have felt when multi-track recorders were introduced. For the first time ever, one could record music, and then overdub (“add-on”) more music to what had already been recorded within the same song. Then, when multi-track recording become even more sophisticated, entire albums started being recorded part-by-part: meaning the drummer played alone, then the guitarist could do his part separately by himself, etc. Even though it ended up sounding like everyone was all performing together at the same time, they weren’t. What about purists who thought that everyone should be forced to play at the same time when recording, just like it would have to be really done in a “live” performance? Could this all have been seen as some type of fraud and technological trickery!?

I remember in the late 1970’s/early 1980’s when drum machines were infiltrating the music- making market. Even though rhythm machines had existed before on such instruments as the Hammond Organ, people in the late 1970’s/early 1980’s were starting to make records using drums and rhythm from a non-human artificial machine. Did it cause controversy? Of course it did, as many people thought it was a fake and bogus way to produce rhythm on a record.

In addition to drum machines that produced mechanically perfect rhythm, sequencers also emerged, which allowed musical notes and parts to be entirely programmed and executed by a machine. Therefore, artists no longer had to play their instruments. I remember hearing Depeche Mode defend their work by saying that music is about “ideas,” and not necessarily being able to play an instrument. There were people who vehemently criticized groups like them and Human League. These were artists for all intents and purposes who did not have conventional musical ability to be able to play an instrument, or certainly, not to any technical level worth noting.

Yet, now, rhythm machines and sequenced music are commonplace and just accepted as a part of our musical culture. You would hardly hear anyone today complain about a drum machine, or a sequenced (machine played) musical part. Why is that?

The reason is that people are like sheep – and whenever something becomes culturally engrained in our collective psyche, it becomes accepted. Even though people think of themselves as being individuals with unique viewpoints because of their loudness, rudeness, and over-opinionated jabs, the collective culture is easily manipulated. If something is done long enough and becomes popular, it gets established as part of the conventional aesthetics of the time.

It all starts with the kids who are more open at the time because they’re young. When they first heard groups like Human League and Depeche Mode, they didn’t say: “Oh my God, they’re not playing those tick-tocky precise parts. It’s done by a fucking machine!!” It sounded good to them – it was new, seemed fresh and became popular. Plus, many other artists kept doing the same thing. Therefore, it is now as acceptable as electric guitars have been for several decades.

In the 1980’s, Metallica and REM were also quite successful, but do we ever think of them as decade-defining artists? Of course not, because they weren’t “pop,” which is what defines musical history in the overall sense in any given time period. That history involves artists who have multiple hit singles, the general sound of music that a lot of artists are doing, and the music that the masses can accept which is always watered-down.   

The 1980’s is thought of as a combination of synth-music and heterosexual drag queen pussy-lovin’ “I’ll kick your ass, faggot, even though I’m wearing lipstick” hair metal, lol. The 1980’s was the first decade that openly celebrated and flaunted pop music that not only wasn’t played by a person, but also sounded artificial to the ear: synthesizers had repetitive, robotically fast mechanical notes, we heard programmed, fast hand claps that humans wouldn’t have done, there were some robotic voice effects, and drum machines that sounded like loud firecrackers popped out of a cannon, too.

I’m actually quite thankful for drum machines, as it gave me the ability to record my album, Best Kept Secrets that I released independently in May, 1992. Without a drummer, I was able to bypass a problem that could have wiped out the project. Because of my musicianship, I was able to program a drum machine to be anything I wanted it to be: from the feel of a real drummer to something deliberately electronic sounding.

I also have no problem with sequencers, even though I don’t need them. Anything that could be sequenced, I can play just as well and actually more quickly than it takes to be programmed on a machine. Every once in a while, I used a sequenced part on some songs to Best Kept Secrets, because I only had 4 tracks to work with as the record was done on a 4-track cassette recorder. By having something already sequenced, that mechanical part could be playing at the same time that I was performing a musical part, which allowed both the sequenced part and my part to be recorded onto a single track. Nothing like two for the price of one, lol! Is this clear to someone who doesn’t understand the muti-track recording process?

In the 21st century, the role of technology and machines in music has a far more expanded place than ever before in the creation of music – and some people embrace it, while others hate it with a passion. In reality, most of the music the consumer gets now is highly processed whether it sounds so or not: from rhythm machines and sequencing, to auto-tune pitch correction on the vocals, all the way now to the newest fad which are robotic vocoder voice treatments. Sure, auto-tune robot voice effects will fade, just as huge snare drums of the 1980’s became passé, but a new electronic machine-made gimmick will come along to replace them.

As I was browsing You Tube yesterday, I noticed a brand-new song that really represents what I’m saying here to a “T.” To anyone who knows music at all, it is presumable that none of the musical parts in this track were actually performed by anyone in the way someone sits down and plays a piano keyboard, and that at least the auto-tune robotic vocals were done electronically as well. Since it was machine programmed and executed, it would be hard to actually perform live. Check out Boom Boom Pop by Blacked Eyed Peas:

Another example is the biggest selling downloaded single ever for one week since Soundscan started tracking those figures. It just sold over 600,000 copies in one week, and is TiK ToK by Ke$ha.

In addition to vocoder voice treatments, the music on this track certainly wasn’t actually performed by anyone in the way you would see someone play a drum set or a musical keyboard live. A machine was programmed to do it. Because of the robotic, mechanical nature of the musical parts, it would be quite problematic to duplicate this song in a live show. It would seem that the choices would be to do what Britney Spears does, which is to have the band mime the musical parts like on a video shoot, or just run the track without anyone pretending to be playing anything and add some dancers.

Kids and young adults are used to this kind of thing as we now have more than a generation of music listeners who have grown up on perfect rhythm and machine-made music – not just well-played drums by a person with human feel, but mathematically perfect rhythm and musical parts executed by a machine. It’s now an aesthetic and a sensibility, and expected by listeners. Even if they don’t know so consciously, they need that “feel” to get into a record.

Of course, purists and older people are going to consider this type of music utter crap, but is it any different than a great drummer who saw drum machines as a cheap cop out back in the late 1970’s/early 1980’s, or competent arena-rock musicians who hated The Ramones?

However, with technology and machines being so prevalent in today’s music, it creates a weird sort of a dilemma for live performance as this type of music is not able to be authentically duplicated by actual people who would play or sing it. First, the sounds are so diverse and integral to the music and constantly changing, that you couldn’t get a “live” band to recreate that. In addition, the parts are mechanically perfect as programmed into a machine, so people playing them wouldn’t create a feel that sounded right. If there are electronic robotic treatments on the voice, how could someone just duplicate that singing straight into a microphone?

So what does an artist do? Perhaps Britney Spears knew it all along as she’s just lip-synched her way through her performances. Here’s a question: Would the audience who would pay to see these artists really care if anyone was playing, or even singing anything live? They may not want it rubbed in their face that the show is largely or totally canned, but it’s the product that needs to be perfect, not the reality or integrity of the aesthetic. Meaning, which would a kid rather hear: Britney singing horribly, a band who can’t match the sound and feel of the record, or hear pristine vocals and a backing track that was bang on? They want product-perfect, of course, and the experience of the concert to be right. That entails the music and singing being the same as the record and the visuals matching or being similar to whatever the videos are.

For kids today, music is thought of as a backdrop for the experience: of celebrity, the bigger-than-life persona of the artist, and the vibe – and that needs to match the record. Therefore, it might be better for these artists to just fake it live, where the “concert” becomes like a video shoot. For hip-hop, the backing musical tracks have almost always never been “live,” with at least the rapping being live. However, I’ve heard rappers double-tracked; meaning that there is a pre-recorded track of their rap mixed in with the actual “live” rhymes. To me, it’s ludicrous to imagine why that would need to be done, but I’ve heard it.

As this generation of kids grows into being adults, it will become accepted for music to be completely artificially made, and even performed that way. Again, it’s back to the sheep theory, which is that the collective culture will accept anything done long enough that becomes popular. Musicianship doesn’t matter to them, as the person who is the Producer or behind the machines becomes the magician, not the collective performing of a band of musical performers. It’s a different ball-game now.

On the other hand, many of today’s so-called “rock” bands who I’ve heard live have sounded dreadfully horrible. For me, I can really hear how auto-tune and rhythm corrected their records are. It’s as if the actual artist “live” sounds like a flabby, middle-aged second-rate wedding band performing a lame cover version.

Musicianship takes hard work and a lifetime of dedication, because besides the emotional and spiritual commitment needed, there is a tremendous amount of physicality that is involved in singing and playing correctly, and in today’s culture, people are lazier than ever. Could you imagine some kid playing simple scales at the piano hours a day, instead of learning how to operate a software music program that gives them instant results? I think we know the answer to that question in most instances. Even most of the rock bands of today can hardly even play a banal, basic guitar solo….

So as we move further into the 21st century, purists will complain about the current state of affairs. Who knows, there may even be movements of musicians who vehemently take a stand against technology to the degree it’s integrated into music today, but will we ever go back to a mid 20th century sensibility, where people played their instruments (whether acoustic or electric), and actually sang?

What’s next? I think we’ll see programs that you can tell what you want to have and it will create it for you: “I want a classical feel with a hip-hop beat and jazz chords,” and it will spit it out to you – all under the guise of being an original song. How about a program that could rip-off someone else’s song and change it just enough to avoid a copyright infringement lawsuit? It’s all possible—and probably in the works.

Back in the 1950’s, the question was actually asked if rock n roll was just some silly, adolescent passing fad. That seems comical to even speculate on now, but the same question can be asked about the role technology and machines will play in the creation, production and “performance” of music today and in the future. The answer is simple just as it was with rock n roll back in the 1950’s: technology and machines are definitely here to stay.

January 5th, 2010
Categories: Musings . Author: Skafish . Comments: No Comments

Here we see JD Dragus, a pal I went to high school with at Bishop Noll Institute. More than a school, BNI was like a abusive, tortuous, Catholic solitary confinement prison cell!

JD is sporting his Skafish T-shirt, classic derby hat and a very cool-looking guitar.

JD is a songwriter, singer, guitarist and musician who has already been signed to a major label. Now he’s ready to spread Skafish T-shirt mania! – Skafish

January 2nd, 2010
Categories: News . Author: Skafish . Comments: No Comments

Mark Reynolds, a bass player and musician from Kansas City, Missouri, was kind enough to send us this pic looking quite dapper in his Skafish contest prize T-shirt and very hip ska style hat.

In addition to having had his music featured in a film, Mark has shared the stage with such groups as Black Flag and The Meat Puppets. Rock on Mark — Skafish

January 2nd, 2010
Categories: News . Author: Skafish . Comments: No Comments

We’ve had people enter from all over the world in the 2009 Skafish Holiday season contest giveaway! Phil Bradley was one of our lucky contest winners from the UK. A Skafish fan for decades, Phil sent us these two images for us to enjoy.

We can appreciate the timeless, dignified, classic drawing on the front — OOOPS!!!!!! My right BOOB is exposed — Naked for the world to see! What a complete and utter disgrace I am — Don’t tell anyone…. or my mummy will be upset, have to change my diaper and spank me in church! — Skafish

January 2nd, 2010
Categories: News . Author: Skafish . Comments: No Comments

Kim Tonry, a Skafish fan who lives in the Chicago area was one of five lucky people to win an ultimate What’s This? 1976-1979 press kit folder with autographed retail CD and extra surreal Santa Skafish treats. In addition, this prize included two firsts: a Skafish What’s This? 1976-1979 post card and sticker, which no one had yet to receive!

Kim, thank you for sharing your wide-eyed (or is it psychotic) joy with all of us, lol? — Skafish

January 2nd, 2010
Categories: News . Author: Skafish . Comments: No Comments

For Week 5, I gave away five high-end What’s This? 1976-1979 press kit folders with autographed promo CD and lots of goodies inside. Larry Leibowitz, a long-time Skafish fan who now lives in Florida was one of the lucky winners. Here was kind enough to send us a picture with his prize to share with all of you. It is appreciated, Larry!

December 26th, 2009
Categories: News . Author: Skafish . Comments: No Comments

The TEN Week 7 winners are: Mark Reynolds, Heathen (MySpace), Michelle (MySpace), Brad Emrich, Matt Garratt, Mud, Bill Styple, Morgon Olcott, ElJefeMuyGuapo, and Jim Ryan. These 10 lucky people will be able to wear me everywhere proudly and disgracefully, and in the process, raise a few bored and boring eyebrows I’m sure, lol!

Here is a religious recap of the 7 Week 2009 Skafish Holiday giveaway contest prizes:

*Week 1- Five personally autographed Tidings of Comfort and Joy – a Jazz Piano Trio Christmas CDs were given away!

*Week 2- Five Tidings of Comfort and Joy – a Jazz Piano Trio Christmas high end press kit folders with personally autographed CDs were given away!

*Week 3- Five personally autographed What This? 1976-1979 promo CDs were given away!

*Week 4- Five personally autographed What This? 1976-1979 complete retail CDs were given away!

*Week 5- Five What This? 1976-1979 high end promo press kit folders with personally autographed promo CDs were given away!

*Week 6- Five What This? 1976-1979 high end press kit folders with personally autographed complete retail CDs (including a post card and sticker which no one had ever received) were given away!  

Let’s have that sacrilegious Sign of the Cross faster than the speed of sound drum roll please!!!! For Week 7, here it is:

*Week 7- Ten never before sold to anyone collectible Skafish T-Shirts were given away!

Also, each prize winner received a personally hand written note on my record company stationery included in their package, for that up close, cozy and personal IN YOUR FACE touch, lol!

To all winners out there in cyberspace, Skafish space or any space, please send in pictures with your prizes for us to post here on skafishblog to share with the worlds’ factory line outcasts and rejoiceful rejects!

For those of you who didn’t win, if you’re interested in buying either of the two CDs currently available: Tidings of Comfort and Joy – a Jazz Piano Trio Christmas, and/or What This? 1976-1979, click here. If you prefer to buy them directly from us with a personal autograph from me to you at no extra charge, email sales@labefanarecords.com. I have also received requests to be able to purchase the “WHAT’S THIS FREAKIN’ S&*?!” Skafish T-Shirt during this holiday giveaway contest, and I’m considering making them for sale in the future. I’ll keep you posted! 

I am feeling electrically electrified and ascendingly alive this holiday season, and to all of Surreal Santa Skafish’s helpers, thank you for sharing in the joy of giving with me — and trust me when I say that you will hear a lot more from me in the future — Skafish

December 21st, 2009
Categories: News . Author: Skafish . Comments: 2 Comments

Welcome to Week 7, the LAST and FINAL week of the Skafish 2009 holiday season giveaway contests.

Week 6 was once again a disgraceful blast and bash, and here are the Week 6 winners: N.o.t.o.r.i.o.u.s. Verb, Phil Bradley, Kim Tonry, Michelle Keener, Geoffrey Bendorf. If you haven’t won yet, this is your last chance, so make sure to enter!

This is it! It’s time for the grand prize here in Week 7, the final week of the 2009 Skafish Holiday giveaway contests.

Hey, do you want to wear and spread me…? How about unleashing the Skafish Gospel everywhere…? Wanna be a dysfunctional Skafish Disciple and spread the Word of Skafish proudly on your chest in daily life…? Well here it is:

For the finale, surreal Santa Skafish is topping the charts with this incredible, collectible, wearable, grand prize gift – but not just for 5 people, but for 10 lucky winners! That’s right, frenetic freaks! 10 lucky people will win a specially designed collectible Skafish T-shirt that has never been sold to anybody — anywhere! In classic Skafish fashion, it will raise a few tired and bored eyebrows, especially at Grandma’s holiday dinner table, lol!

Because most people like their T-shirts large, I have Large, X-Large and XX Large. Each T-shirt comes in its own secure plastic package, so they have never been worn, but just waiting anxiously to be draped on your body in this utterly boring and mundane world to shake things up! They’ve been oh-so lonely sitting securely packed away on my shelf and they desperately want to see the light of day (or night, depending on your nocturnal leanings)!

The idea for this T-shirt was inspired by something international rock legends Cheap Trick wrote in their liner notes for the Skafish CD What’s This? 1976-1979. In recalling how audience members reacted to my earliest performances, Cheap Trick noted that people were so confused and shocked by moi that they quizzically asked, “WHAT’S THIS FREAKIN’ $%o8!?” So I thought, let’s splash that wondrous, loving, complimentary phrase in bold white deliberately distressed lettering on a black T-shirt! On the bottom, the website www.skafishwhatsthis.com is listed so people know where to get their Skafish What’s This? 1976-1979 fix.

So wherever you are, I would bet that people will ask you what the hell this T-shirt is all about! Wherever you go, this T-shirt will get the conversation going in an upbeat, bouncy, tra-la-la fashion, lol!

To be eligible to be a contest winner, here’s all you have to do:

1-Leave a comment on this Week 7 post right here on my blog with the exact phrase Skafish Disciple in it

2-Leave a comment with the exact phrase Skafish Disciple in it on my Facebook pages

3-Leave a comment with the exact phrase Skafish Disciple in it on my MySpace pages

4-On Twitter, Tweet this: Win the ultimate collectible Skafish T-shirt! http://bit.ly/76VzZm

PLEASE NOTE: Many people have been trying to enter the contest without posting the exact phrase correctly. As I want you to have a chance to win, you must enter the exact phrase Skafish Disciple to be entered in the contest. You can enter once on each site (up to 4 entries per person for each contest). It’s truly that simple to do!

Keep in mind that this IS the last contest and on Sunday, December 20, 2009, 10 winners will be randomly picked and notified by email that they’ve won. Don’t forget that if you have already won, you can still enter this last and final holiday season giveaway contest.

The idea for this T-shirt was inspired by real life experiences that are part of Skafish history and with that, it was an utter delight coming up with the design concept and getting them manufactured. As I believe in spreading the Skafish Gospel everywhere, this T-shirt does so: proudly, unapologetically, boldly, and religiously — Skafish

December 13th, 2009
Categories: News . Author: Skafish . Comments: 54 Comments

Welcome to Week 6 of the 7 week Skafish 2009 holiday season giveaway contests.

Week 5 was frenetically fantastic and here are the winners: Bob Pittenger, Michael (MySpace), Peterpeter, Van Pudlo, and Larry Leibowitz. If you haven’t won yet, do keep on entering as there are brand new prizes to win over the next 2 weeks with only 2 more contests left!

Remember that I have always seen the future and still do so — and this prize is living proof of that musical prophecy.

Here in Week 6, I am giving away the biggest, the baddest, and the last of the four What’s This? 1976-1979 prizes for this holiday contest giveaway. This FREE collectible has everything and then some.

Along with all that is mentioned below, 5 lucky people will be the first to ever receive a Skafish What’s This? 1976-1979 sticker that NO ONE on earth has yet, plus a Skafish What’s This? 1976-1979 Post Card that you can send to family and friends for a little holiday cheer, loll!

In addition to all of that, how would you like to win an autographed, COMPLETE retail What’s This? 1976-1979 CD with a 36 page booklet that has rare and never before seen photos…? That’s not all – it comes in a specially designed custom high end folder with a cut-to-fit pocket that snuggly holds the CD in place featuring the divine drawing of yours truly on the folder cover as seen on this post by New York artist Robert Mag.

How about reading several of the things I did first as an artist where I saw the future and had the guts to bring it into physical manifestation against all odds, along with many things that I did as one of the first artists ever on earth, as revolution has always been my game, not pandering to fame and being lame…? Wanna a print of me performing live in 1979 as seen on this post taken by legendary rock photographer Paul Natkin…?  

Does it sound like fun to be able to read what international rock legends Cheap Trick really wrote about what I did as an artist for the future…? Wanna get inside of my head and see what I saw when I wrote the subversive classics on What’s This? 1976-1979 and hold in your hands the print-out radio received when they were considering giving airplay to this groundbreaking effort…? Having Glinda Harrison’s business card in your wallet is better than an old family portrait of the grandparents, right? Well it looks like this is a package fit for dysfunctional royalty!

People think I’m nuts to give this away, as trust me when I say that there are very few packages of this detail and effort being done as a promotional item by any record companies anymore, even for the biggest artists out there.

Harry Rushakoff, drummer for Concrete Blonde and Special Affect, (a Chicago group that opened for me which had Al Jourgensen, later of Ministry and Groovie Mann, later of My Life With the Thrill Kill Kult) was someone who bore witness to the earliest Skafish performances back in the 1970’s. He has referred to me as a “musical prophet,” which has inspired today’s contest phrase!

To be eligible to be a contest winner, here’s all you have to do:

1-Leave a comment on this Week 6 post right here on my blog with the exact phrase Skafish Punk Prophet in it

2-Leave a comment with the exact phrase Skafish Punk Prophet in it on my Facebook pages

3-Leave a comment with the exact phrase Skafish Punk Prophet in it on my MySpace pages

4-On Twitter, Tweet this: Win the ultimate Skafish What’s This press kit!  http://bit.ly/6PljWt

PLEASE NOTE: Many people have been trying to enter the contest without posting the exact phrase correctly. As I want you to have a chance to win, you must enter the exact phrase Skafish Punk Prophet to be entered in the contest. You can enter once on each site (up to 4 entries per person for each contest). It’s truly that simple to do!

Every Saturday for the remaining 2 weeks, 5 winners will be randomly picked and notified by email. Then, on each Sunday, a new contest will be announced through December 13, 2009, when the contest concludes. Don’t forget that if you win, you can still enter any and all of the remaining holiday season giveaway contests.

What’s This? 1976-1979 is one of many Skafish works that foretold the musical, social and cultural future – and the lyrics, music, styles and attitudes prophetically revealed what was to come by several decades. Now, it is out there for everyone to experience and for you to win as my gift to you – Skafish

December 6th, 2009
Categories: News . Author: Skafish . Comments: 44 Comments