| Show info |
|30.05.1991, UCHA, UCLA, Los Angeles, California, USA|
1. Don't Leave Me
2. At the Library
3. Paper Lanterns
4. Christie Road
5. Disappearing Boy
6. Going to Pasalacqua
8. The Judge's Daughter
10. Who Wrote Holden Caulfield?
Note: Operation Ivy cover.
12. Road to Acceptance
13. 409 In Your Coffeemaker
- Other performers: Rhythm Collision (opening act).
- Wikipedia: "Both Green Day and Margaret Cho performed at UCHA in the early 1990s."
Credit: Flipside, Unknown issue
GREEN DAY, RHYTHM COLLISION
May 30 at UCLA by Carmen Hillebrew
When I heard this otherwise "unannounced" show plugged on KXLU, I got my ass down to the Cooperage on campus to experience just what I hoped for: a rare opportunity to see world-class band up close, in a small crowd with no jock slammers fucking things up for everyone else. Openers Rhythm Collision were a young, solid 3-piece from the Bay Area [Rhythm Collision are from Agora, CA] who played punk which I'd describe better-than-average. They came across as sincere and easygoing, and with something to say. Their closing number, "Now", took off in a different tangent than the rest of the set into experimental, almost Minutemen-ish territory. With more songs like this Rhythm Collision could be developing into something really special. Green Day came on next, and will be playing big halls soon (if they're not already). GO SEE THIS BAND. They're punk with hooks galore that sometimes hover near folk, sometimes near pop. I am mind boggled at the level of songwriting and playing considering their age. (They're all teenagers.) The bassist plays a weird, Danelectro-type of thing [Gibson G-3] and was all over the fretboard. The drummer is named Tre, and pounded great arrangements. The guitarist/lead singer Billie Joe is going to prove to be one of the major talents to emerge from 90's underground. He makes some super-charged guitarwork look easy, and is blessed with an amazing set of vocal chords. With his relentless, quick-witted between-song banter and mock-rock moves, he proved to be consummate showman, but why did I leave with the feeling that someday this person will be a (gulp) rockstar.
Giant Robot (Martin Wong):
Cometbus 54, Green Day in China, and me
Since 60 Minutes was on right before the Grammys, some of you might have caught Andy Rooney's rant on The King's Speech. It turns out that when the commentator was reporting on WWII, he and other correspondents were actually visited by King George VI in North Africa. Wow. It's always been easy to dismiss him as that cranky old curmudgeon, but on Sunday night he crossed the line from being really old to historic! But the pontificator's point was that he likes movies that remind him of things that he knows about.
Conversely, one of the things I've always liked about the Cometbus zine is that the author/drummer/photocopy artist Aaron Cometus writes about going to places I've never been and doing things I'll never do – embarking on long tours with bands, living in squats and punk houses, or riding a bike through Europe, for example. So it was odd that the latest issue features so much material that I am quite familiar with. In Cometbus 54, he accepts an invitation from Green Day to join the band on the Asian leg of its tour. Stops include Thailand, Singapore, Hong Kong, South Korea, and Japan. As much as he can, he does his trademark wandering through alleys, scoping out used bookstores, and imbibing mass quantities of coffee on a continent that's new to him. But the real story is also about his longtime connections with the band, the different paths they chose – fame and obscurity, major label and DIY – and their lasting, evolving friendship.
While I've gathered some knowledge about Asian culture as the editor of Giant Robot, I'm also very aware of the band. Green Day actually stayed at my house after they played a gig at UCLA's Coop when my friend Craig was booking shows there. The group had one album and a couple of singles out at the time and they only spent one night, but everything Cometbus writes about them rings true in my memories. Tre was the goofiest one, fucking around in his Mack baseball cap and yelling "Bass!" all the time (Public Enemy was huge). Mike was the sympathetic one who apologized for everyone sleeping in after I got busted for speeding on the way back to Westwood with them to catch the Mr. T Experience's lunchtime show and pick up their check the next day. Billie Joe was mostly quiet but left his phone number and said to call if I ever made it up to the East Bay. All three had stinky feet, and I baked cookies after they left so my roommates wouldn't have to smell the aftermath.
I never dialed BJ's number, but I did keep seeing Green Day a lot back then. A pilgrimage to Gilman St., a road trip to some shack in Santa Barbara, and a date at the Palomino come to mind as being particularly amazing, with merely great shows ranging from a lowly slot at the Coconut Teaszer to opening for Bad Religion at the Palladium. I never saw the band play an arena show, so it was interesting to read Cometbus's takes on the young punkers taking their music as far as they have. The van has become a fleet of vehicles, the crew has grown from a roadie to an army, and (most importantly) the songs don't rhyme "brain" with "insane" as much, but their personalities and tendencies seem exactly the same. As for the band's punkness, I'll defer to Cometbus's writing because the topic is too complicated to summarize. And it's actually shocking that he even names the band–not to mention place it on the cover – since in past issues he would leave them anonymous.
Most Green Day freaks will just be teased by Cometbus's intimate-but-limited time with the band and the 95 pages of prose can't possibly serve as a true travel story because the narrative is tethered to fancy hotels and free pre-show buffets, but for me Cometbus 54 is like the aligning of stars. East Bay Punk, Asian culture, and Cometbus–these are things that I know about. I hope I don't make myself sound historic by saying that.
Type of recording
Pinhole Highschool GEN 1 + UCLA
There are no covers.
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