Fresh Fruit for Rotting Vegetables

33⅓ Main Series #105

by Michael Stewart Foley

In 1978, San Francisco, a city that has seen more than its share of trauma, plunged from a summer of political tension into an autumn cascade of malevolence that so eluded human comprehension it seemed almost demonic. The battles over property taxes and a ballot initiative calling for a ban on homosexuals teaching in public schools gave way to the madness of the Jonestown massacre and the murders of Mayor George Moscone and city supervisor Harvey Milk at the hands of their former colleague, Dan White.

In the year that followed this season of insanity, it made sense that a band called Dead Kennedys played Mabuhay Gardens in North Beach, referring to Governor Jerry Brown as a "zen fascist," calling for landlords to be lynched and yuppie gentrifiers to be sent to Cambodia to work for "a bowl of rice a day," critiquing government welfare and defense policies, and, at a time when each week seemed to bring news of a new serial killer or child abduction, commenting on dead and dying children. But it made sense only (or primarily) to those who were there, to those who experienced the heyday of "the Mab."

Most histories of the 1970s and 1980s ignore youth politics and subcultures. Drawing on Bay Area zines as well as new interviews with the band and many key figures from the early San Francisco punk scene, Michael Stewart Foley corrects that failing by treating Dead Kennedys' first record, Fresh Fruit for Rotting Vegetables , as a critical historical document, one that not only qualified as political expression but, whether experienced on vinyl or from the stage of "the Mab," stimulated emotions and ideals that were, if you can believe it, utopian.

Genres: Music, Nonfiction, History, Punk, Biography

192 pages, Paperback

First published April 23, 2015

Reviews

[Teresa · Rating 5 out of 5]

This is the best of the 33 1/3 books I’ve read so far and I sensed it would be while reading Foley’s introduction.

First off, I appreciated his debunking of the supposed political noninvolvement of members of a generation a little bit older than me. I was a kid/teen in the ‘70s and, while I was aware of the incongruity of the violence I saw on TV and read in the newspaper with the national exceptionalism being taught, I was too young to grasp all that was happening at the time. So, having these events laid out in such an accessible way—the family backgrounds of the future members of DK; the activism of the punk scene in San Francisco in response to the city’s authoritarian government; the impact DK’s first album had on not only their fans, but on the culture at large—was great for me.

I knew Jello Biafra was an intelligent life-force, but now I know how much of one he was and likely still is. I didn’t know much about the other members of DK before reading this and they’re no lightweights either.

I’d be remiss not to mention that in addition to the usual notes, bibliography and index, there’s a separate index of song and record titles. I immediately loved the idea of that and have already found it useful.

[Alex Sarll]

An account situating the best punk album ever (my claim, not Foley's) in the moment of American decline that gave it birth, and unravelling some of the bigger misconceptions around the band. That name, for instance, which even some other punks found a bit much, was not just offence for offence's sake - several of the band themselves had keen memories of how shocked they'd been by JFK's murder. And building on that, there's the importance of remembering that, in San Francisco at least, punks weren't diametrically opposed to hippies, just appalled by the way the hippies had given up on the transformative in favour of the trappings (Hell, a key part in the band's prehistory was played by a record shop named Aquarius). I imagine that to an American reader much of this might be overfamiliar, in much the same way that for all I love Unknown Pleasures, I never need to read the 33 1/3 book about it. But to me, this is almost all new - I have a few disjointed fragments of the immediately pre-Reagan US scene, but it was mostly 'here be dragons'. As a punk, historian and punk historian, Foley is well-placed to fill that picture out, and he gives a vivid account of a darkening San Francisco scene in which the beginnings of many of the West's modern ills can be seen - government by and for landlords, gentrification which monetises a history of counterculture while erasing its present, a new withdrawal from engagement with the wider world. Alas, that background does also mean he's quite the (punk) rockist - turns out that yes, there are still people who reflexively sneer at disco! He also appears to think the Knack are forgotten except for the occasional embarrassing flash of recollection - sorry, mate, not here they're not (and it was Britain which gave Fresh Fruit a release, while the San Francisco punks who formed the band's core audience had to get it on import). Still, that narrow-mindedness may be a necessary prerequisite of the fire and focus which make this account work: the album "is a political document for a generation, even if most of the generation missed it because they were still listening to fucking Hotel California". Which is not to say he neglects the personal histories of the band (mostly from cooler family backgrounds than the standard punk rebellion story would suggest), or the technical details of how they made the album (a bit more in the way of effects and production than punk orthodoxy generally favoured, but that's exactly why it still sounds so enormous and evil today).

[Robert · Rating 4 out of 5]

There are only two things I know about Dead Kennedys: They are one of the pioneering Californian punk bands and their debut album Fresh Fruit for Rotting Vegetables is excellent. Other than that I know nothing about this band. Thankfully Michael Stewart Foley puts everything into perspective.

As I have said before one of the best things about the 33 1/3 series is that each author has their unique way of approaching an album and in this case Foley eschews recording techniques (well there's a couple of pages but it's scant) and focuses on the political climate that shaped the album and Dead Kennedy's philosophy and I think this is a great idea.

San Francisco, during the late 70's, was in turmoil: serial killings, Harvey Milk's murder and general political unrest. Nearby the People's Temple leader, Jim Jones orchestrated a mass suicide of 913 people in the name of his cult. A mess if there ever was one.

Most of these events were detailed in Biafra's lyrics when writing the Fresh Fruit... At the same time the group were absorbing philosophical theories, and the New York punk scene. All which made Dead Kennedys and Fresh Fruit a force to be reckoned with (this is no exaggeration) At one point Jello Biafra campaigned for mayor of San Francisco, something which was totally new to me.

Foley details all the messy political happenings and meshes them perfectly with Dead Kennedy's ascent from being a cult band to one that managed to influence a lot of people. Also Foley manages to interview all members of the band and scenesters so the end product is an absorbing and informative read.

[Joe · Rating 3 out of 5]

Interesting but a little dry, and too many of his conclusions were that the DKs were smarter and better than any other political punk band and any critics were wrong. I even kind of agree with the first part of that, but it doesn't make for compelling reading or arguments. What I found most interesting actually was reading after Trump's election, since this delves into a period where anger at post-Sixties complacency is driving young people to more active political engagement. I feel some parallels and hope he's at least right on that point.

[Bob Schnell · Rating 3 out of 5]

A short entry in a series of short books, "Dead Kennedy's Fresh Fruit for Rotting Vegetables" is more about the San Francisco punk scene than the making of the album. We do get some biographical background on the musicians and a brief description of the recording process, but it is mostly about the politics of SF and America at the time (late 1970s). That's fine. It was enlightening to know the origin stories behind "Let's Lynch the Landlord" and "Kill the Poor." However, I think many musicians will be disappointed since not much space is devoted to gear, chord progressions, etc.

[Nick · Rating 4 out of 5]

Book 4 stars. Album 6 stars.

I bought Give Me Convenience or Give Me Death when I was like 13 or 14 and liked a couple songs like Police Truck and Too Drunk to Fuck but kind of wrote them off. I spent those years jamming to Bad Religion, Pennywise, Lagwagon, and other Warp Tour SoCal skate punk bands. Cut to a few weeks ago and I randomly turn on Bad Religion. I love them but I've listened to their discography so many times I started thinking about what other political punk bands are out there and decided to revisit Dead Kennedys. I turned Fresh Fruit for Rotting Vegetables on and it clicked immediately and I began giggling uncontrollably. They're an amazing punk band and their songs are equal parts fucking awesome and hilarious. But beyond that they are angry and FUCKING PISSED OFF in the exact same way I am and for the same reasons at the same people and they want to piss them off in the same way I desire using shock value. It has been extremely cathartic (re)discovering the Dead Kennedys in 2020 without having prior experience with the vast majority of their music while sharing their political outlook and being just as fucking angry. And I have been able to experience almost their entire discography fresh. Getting to experience the Dead Kennedys fresh as a politically educated 35 year old cynic living under the Trump regime is beautiful.

Anyway, I wanted to read this book because it provides explicit context for the album regarding late 70's SF politics (though I might need to read that David Talbot book it kept referencing). Just knowing the fact that the landlord that they implicitly wanted to lynch is Dianne Feinstein made the book worth reading.

[keatssycamore · Rating 3 out of 5]

Solid entry in the series. Covers SanFrancisco at large, the punk scene there, the band and the album in a brief but information filled 130 some pages.

[Jim · Rating 5 out of 5]

Your mileage will vary with 33 1/3 books. This one is exceptional.

[Joshua Buhs · Rating 4 out of 5]

When I was in junior high, seventh grade, I think, so 1985 or so, I took shop class. It was taught by the stereotypical shop teacher, an older, conservative man. I remember one day him dressing down another kid int eh class--don't remember his name--who had patches of the bands he liked sewn onto his denim jacket. One was "Dead Kennedy." The shop teacher kept asking him if he thought that was a good name, if he was happy that Kennedys had been killed, how he thought the Kennedys themselves felt, It was an awkward moment.

Probably this story would be better if it was me he was dressing down, but it wasn't. I knew who the Dead Kennedys were. I'd grown up in San Francisco and was by this point living in the Central Valley. I'd heard of them, but they didn't speak to me. I wasn't angry enough to hear what they were saying. Yet. At the time, and even later as I have reflected on this weird moment, it seemed just another minor skirmish in the generational wars that have gone on since Abraham tried to kill Isaac.

Michael Stewart Foley's book makes me think there was something deeper going on, or more specific. It wasn't just another case of olds hearing the youngs music and dismissing it as a noise. The Kennedys offered a voice for a specific generation, dealing with specific problems. Jello Biafra and the other members of the group were critiquing an American dream that had curdled since the Kennedys were killed.

Foley makes his case by situating the Kennedys and their first album in national, state, and local--San Francisco--context. The wheels had come off the bus. (Looking back, this seems to have occurred around 1970, when real wages stopped growing.) The revolution promised by the 1960s and the hippies had not came off--and the hippies had become the establishment. San Francisco, in particular, home of the Summer of Love, was on control of what historian Kenneth Starr calls the Provincials--the landlords who were remaking it to stamp out the islands of diversity that had sustained the counterculture.

This is an interesting interpretation of punk rock. It is is obviously not applicable to the entire movement, which Foley somewhat admits, but adds an extra dimension on to what has been written about punk rock before. As he sees it, punk rock was not a rejection of 1960s idealism, but frustration that the revolution had never happened, had, instead, become part of the mainstream. The Kennedys wanted to shake up the power structure. One way was through shock--that name. But there was also humor, and Foley makes the case that the Kennedy's lyrics are not as straightforward as detractors think, but relay on unreliable narrators. (Rap has been defended on similar grounds.)

What makes the 33 1/3 series so great, is that writers are seemingly given carte blanche in how to approach the album about which they are writing. There are intensive looks at the music and lyrics, ore meditative contemplations on what the music meant to the listener, and then books like this one that give a historical context. Indeed, this kind of essay is one of my favorite styles: authored by a good writer--there's a little hunter S. Thompson in Foley--who is aware of the critical and academic literature on the subject but does not feel constrained by it; a writer who wants to interpret, but is not approaching the subject merely as grist for some larger point. He genuinely likes the music, has hard and arbitrary rules--as we all do!--about what works and what does not. It made me think of Erin Smith's Hard-Boiled, in that way.

But the book's strength is also its weakness. While the book is excellent on the cultural and political context--I was also reminded of Michael Azerrad "Our Band Could Be Your Life," which similarly covered the growth of independent music int he late 1970s and through the 1980s, focusing on the bands as people living in specific conditions--the band itself is hard to see, the record more so--it doesn't really appear until the last chapter--and the music itself almost completely missing. (It's different from Azerrad's book in that way, which never forgot the music.)

As I say, though, that's the strength of the series, having smart and interesting writers try to explain some bit of music. The approach is never the same, but the journey has its definite rewards. You might even learn something about yourself.

[Rob Adey · Rating 2 out of 5]

Fresh Fruit... was my first proper taste of punk (if you don't count The Toy Dolls...); I think I got a copy of it taped off a cooler kid at FE college before I'd even filled my 30-tape briefcase-style cassette rack. At the time, my friends and I were a bit obsessed with rating any rock/metal music on a scale of 'hardness', from Marillion at one end to things like Testament at the other. Hearing the Dead Kennedys immediately broke that scale - they didn't have the thick tectonic guitars of thrash, but with their sound like a sarcastic wasp and warped, possibly sick treatment of subjects I'd only heard about through Blue Peter appeals, it was clear they were 'hard' in some more real way.

I used to play the album really quietly in the Oxfam shop where I worked. I still absentmindedly doodle the DK logo in team meetings.

Anyway, I never really had much context for this album - I didn't even see a photo of the band until a decade or so after I first heard it, so I was hoping for a lot from this 331/3. But! While there is a lot of detail here about certain aspects of SF politics at the time - and it does sound like a uniquely tense couple of years - there's not a lot else. I'm sure rent spikes, Jonestown etc had loads to do with provoking the album, and of course Biafra did actually run for mayor just before recording it, but who actually were American (and SF) punks? What was that culture like? Despite having interviewed the band and a lot of other people from the scene, there's no sense of that atmosphere. Maybe it's in there, squashed under the awkward (and especially for such a short book, repetitive) writing.

[Thomas · Rating 5 out of 5]

Not just a clever and exhaustingly researched examination of Dead Kennedys' timeless debut, but a fascinating look at the sociopolitical landscape of late-70s San Francisco and its attendant tragedies (Jonestown, the Milk/Moscone assassinations, Feinstein's war on the poor) that helped create the perfect environment for the band itself. An excellent book.

[Joseph Spuckler · Rating 4 out of 5]

For kids born in the late 1950s and beyond, who felt they had been robbed of the American Dream and abandoned by the people who last went to the culture barricades, Fresh Fruit actually offered hope.

My first encounter with the Dead Kennedys was in a pulp rock magazine, probably Creem. It wasn't a positive reaction. The band's name was a turn off for someone born after the Kennedy assassination. It was years later when I finally listened to the band. Cleveland's WMMS was a world class rock station and I heard many new bands before most of the country did, but I never heard the Dead Kennedys. It years later when I was in the Marines in California that I first "Holiday in Cambodia" and became a fan.

Bloomsbury Academic has put out many these books covering a specific album of a band: Patti Smith's Horses, Meat is Murder, The Velvet Underground and Nico, Born in the USA and one hundred others. The books give an introduction to the band and the historical setting at the time. It is more than a book just about the album, rather the album is the central point of the book. Jello Biafra (Eric Reed Boucher) had a vision of music much like Patti Smith. He saw Rock and Roll as selling out. Corporate and Arena Rock crushed the spirit of Rock and Roll.

Biafra, from Colorado, moved to San Francisco and eventually met with East Bay Ray and Klaus Floride. The name was Biafra's idea and was rejected by the band for some time before being accepted. The band's hardcore sound and biting political lyrics made them famous. In what many would see as a liberal haven, the Dead Kennedys viewed something entirely different. Many saw Jerry Brown and Diane Feinstein as patron saints to the far left; the Dead Kennedy's and Biafra, who wrote nearly all the lyrics, saw things very differently. In "California Uber Alles," Biafra records Jerry Brown as saying:

Carter power will soon go away
I will be fuhrer one day
I will command all of you

"Lynch the Landlord" was rage against the price gouging landlords, including mayor Diane Feinstein.

The Dead Kennedys also used their own sense of humor and sensationalism to get their message out. Biafra ran for mayor against Feinstein. There was humor and political attacks, and although Biafra only won 4% of the vote, that number far exceeded the number of punk rockers in the city.

Perhaps their most over the top, and honest, "prank" occurred at the 1980 Bay Area Music Awards where the Dead Kennedys performed, supposedly to give them mainstream credibility. The band stopped their performance of "California Uber Alles" to announce they are not a "punk band" but a "new wave band" and tear into the commercial corruption of punk into new wave music. They mock The Knack's "My Sharona" by playing "My Payola" complete with a "boring" guitar solo. If there was any possible doubt the Dead Kennedys were anti-establishment, it was completely removed by this single act. The song would later appear as "Pull My Strings" on the album Give Me Convenience or Give Me Death.

Dead Kennedys' Fresh Fruit for Rotting Vegetables is a look at the late 1970s San Francisco and exposes what many at the time did not notice -- the hypocrisy of the political left. The Dead Kennedys were more than just a protest or political band. They used humor and wanted to show people that standing up against the establishment was not only worthwhile, it was fun. Well worth the read for those in the 50 plus crowd who want to remember and for the younger crowd to see that their parents might not be the conformists you think they are.

[Carlos Marques · Rating 4 out of 5]

Um livro que analisa o álbum "Fresh Fruits for Rotting Vegetables" da banda Dead Kennedys.

Estou sinceramente surpreendido pela positiva por este livro. Não foi nada do que tava a espera e superou todas as minhas expectativas. Imaginei, pelo título, que fosse focado no álbum: como foi gravado, como a banda se formou, os instrumentos, as técnicas etc com um pouco de biografia para ajudar ao contexto. Logo desde a Introduction percebi que seria muito maior que isso. Foley responde não ao "como" de o álbum ser feito mas ao "porquê". DK sendo uma banda essencialmente política nasceu das condições sócio-económica e políticas da cidade de San Francisco no final dos anos 70. Assim para explicar a criação do álbum e do porquê do seu poder Foley (um historiador de ativismo político dessa altura) leva nos numa viagem em 5 capítulos que cada vez mais se aproximam do centro que é o album.

Começa pelo o nacional, passa pelo estatal, local, pessoal e por fim fala da musicas em si e do seu significado. Cada um destes pontos é um capítulo em si. Assim ficamos conscientes da profundeza do álbum estranha para um album de punk mas completamente normal para os DK. Saimos a compreder quem são os Zen fascists da musica California Uber Alles, vemos a comédia do I kill Children, aumenta o poder do Lets Lynch a landlord. Os DK transformam se assim não só numa banda irreverente e aparentemente sarcástica mas num força política que faz parte de uma corrente anterior e que usa o humor para desmantelar as crenças que eles vêem como tóxicas.

Incrivelmente interessante, políticamente consciente e constantemente engraçado e irreverente este livro é não só uma boa introdução a história dos DK, não só uma amostra da historia da california do final dos anos 70 mas um documento quase tão poderoso como o álbum original. Na realidade sai como o mesmo sentimento deste livro que saio quando oiço o álbum. Esse é o maior elogio que posso dar.

Obrigado Eduardo Ribeiro por esta prenda e desculpa o tempo demorei a ler lo kkk.

[Ashley A-F · Rating 4 out of 5]

This is the first 33 1/3 book I have read, though my husband and a friend have been fans of the series for a while. I don't have a basis of comparison with other 33 1/3 books, but I thought this one was very well-written. The historical perspective was especially valuable - as an east coaster who has visited the Bay Area exactly one time in my life but a fan of Dead Kennedys for about the last 17 or so years, it offered a nice primer of some of the political issues facing the marginalized inhabitants of San Francisco as the real estate developers and politicians began to force out the poor people in the 1970's. Harvey Milk's murder and the mass evictions taking place in the latter part of the decade give the album an important context, and it's easy to see why this album occupies a sacred place in punk history. Jello Biafra, a polarizing figure to many, comes off sympathetically here, and when placed in the proper historical context, a case can be made for him being a real force of change (although the real estate developers have, of course, had the last laugh). I, for one, will never look at Senator Dianne Feinstein the same way - she comes off really badly in this book, and deserves the ire of the people she helped to displace.

[EnjoyerOfTurtles]

Wow, for my first 33 1/3 book, this was an amazing place to start. With the current landscape of the world, nothing like punk rock can satisfy my taste in how life has been. The Dead Kennedys are experts at making fun of the macabre reality we live in by striking back a more visceral image that seems to want to shock and offend everyone but is deeper than what it seems. It explores why punk became a thing after the flower power of the 60s, not only on a national level but on a state-wide level and even a more local level. You get to see why Fresh Fruit for Rotting Vegetables was made and how, God, we needed this album. Punk is often an overlooked genre in terms of documentation and even how the general public views it, but read this book to change your mind on how screaming about wanting college students to die in Cambodia and calling Jerry Brown a "zen-fascist" is the least bullshit pill you can swallow. The Dead Kennedys don't provide an answer, but damn it, they give something to chew on.

Let's hope this isn't the start of me binging the 33 1/3 book series. (It will. I'm most interested in The Velvet Underground & Nico and Tago Mago.)

[Andrew Johnston · Rating 3 out of 5]

An Ok biography of Dead Kennedy's first album. I i was expecting a 200 page review of the album interspersed with anecdotes about the the recording and the influences of the record, but what i got was not that good really. The book only really gets into it's stride when the author is discussing the album itself, sadly over half the text is given over to rambling through the politics of San Francisco and wider america of the sixties and 70s. That stuff is important in the context of the DK's as a group and the individual influences on its members but it takes up far too much space. Worth a read if you are a fan, a punk or someone who just likes SF. and we all love SF don't we?

[Mr. Davies · Rating 3 out of 5]

This was my first foray into the 33-1/3 series, and it was an enjoyable read. I will say that the structure was not what I had predicted, but that speaks to my ignorance rather than the book's success. I had expected a track-by-track analysis, but Foley offers a much more holistic overview of the biographies of the band members and the 1970's politics, both local and national, out of which the album emerged. By the end, he does delve into some lyrical analysis, but the broader perspective he provides is far more illuminating and enriching.

[Ryan Mishap · Rating 5 out of 5]

A superb entry in this amazing series of books, each focusing on a single album. Foley is a historian of political and social movements, and he locates punk rock within these traditions (as he should!). He gives 1978 and the album context by explicating the state of the world, the U.S., California, San Francisco, and the punk scene--the album and the band thus explained within the world in which it was created.

This was fantastic!

[Brenton Walters · Rating 4 out of 5]

My first foray into the 33 1/3 series. I like but don’t love Dead Kennedys, and I knew just a few songs on the album.

This is mostly an academic history of the political and cultural context that spawned the record and the political and musical ideas of the band members.

I loved the political history of San Francisco, and the personal insight from the interviews.

My main takeaways: Dianne Feinstein is a fascist. San Francisco was a hellscape.

[Paulo Nuin · Rating 1 out of 5]

The problem of hiring pseudo-intellectuals to write books is that you don't get anything of value for the money you spend.

One start is the minimum, this one doesn't deserve even one star.

Didn't finish as other 33 1/3 books that prefer to talk about politics, Trump, far-right than actually music, composing, band interaction. I bet if Jello Biafra crosses the street in front of the author he won't recognize him.

[Nathan · Rating 4 out of 5]

Admittedly, my own feelings of this album were not likely to change, regardless of what was given the reader. But, that being said, my feelings were perhaps enhanced by the thorough historical perspective Foley gave to this album. It's more about the climate and San Francisco surrounding the album, than the album itself, and for once, I actually appreciated that.

[Wombat · Rating 4 out of 5]

It’s only the second I’ve read in this series but I really enjoyed this one a lot. Fresh Fruit is one of my all time favourites but I got so much more from this book about what was going on behind the scenes in San Francisco at the time it was a good insight into how and why a lot of these songs came about.

[Edward Sullivan · Rating 3 out of 5]

From the 33 1/3 series, this is an interesting and well-researched look at the San Francisco punk band. Sometimes it seems the discussion of the politics overshadows the music but the two are inseparable when it comes to the Dead Kennedys.

[Matt Heavner · Rating 4 out of 5]

Amazing look at the DK's, San Francisco, and the 70s. My second in the 33 1/3 series - I really loved this look at punk in SF. It had roots in the album, but was not really much about the album. It was fantastic!!

[Jonny Brick · Rating 4 out of 5]

A long essay on punk's social context and the lies America was told leading up to the punk explosion, which Jello Biafra's band kicked off in 1980. Very good on the prevalence of serial killers and Dianne Feinstein's poor treatment of elderly hotel residents.

[Bruno · Rating 3 out of 5]

Pretty cool especially for all the historical points of the album, makes me want to read more about Harvey Milk specifically. Found it kinda lacking when it was discussing the musical elements that weren't the lyrics. Still totally worth the read

[Kori May · Rating 5 out of 5]

I really enjoyed getting to know more about not only the meaning behind one of my favorite albums, but also the social climate that shaped it. Fresh Fruit for Rotting Vegetables proves just how much punk and politics go together. (and is still surprisingly? Sadly? relevant today)

[Alex Elliott · Rating 5 out of 5]

A fascinating read and look into an album that's been one of my favourites for over 20 years. Despite being such a big fan of the album I didn't know much about the context of the lyrics and this book puts the turmoil of late 1970s San Francisco into perspective brilliantly

[Christina Cola · Rating 5 out of 5]

This might have been my favorite 33 1/3 yet. This album, much like Hole's "Live Through This" is up there as one of my all-time punk favorites.

[Brad · Rating 4 out of 5]

A dense history of the political climate in San Francisco and its effect on the punk scene, as well as discussion of other influences on Dead Kennedys, from the Yippies to Darby Crash.