The Multi-Media Art of Jon Woodstock – Part 1: The Bomb Tapes

Jon Woodstock bomb Droppings tape cover 1994

The cover art for Bomb Droppings, the 2nd volume of the Bomb tape compilation series which was created, compiled, and released by Jon Woodstock in the early 90’s. All of the lettering and design here was done by Woodstock himself, but the main cover images comprise a mix of original Woodstock motifs, clip art, and an altered portion of the King Features comic strip ‘Mother Goose and Grimm’ (originally drawn by Mike Peters)

Figuring out how to start off a retrospective about the late Jon Woodstock’s creative ouvre is a monumental task. His artistic canon (much like his complex personality) had so many compelling and wildly conflicting sides: there was mystical hippy poet Jon Woodstock with long flowing curly locks looking and often acting like he just stepped out of a William Blake engraving; there was Jon Woodstock the angry contrarian who refused all gods and all masters, and had no fear when it came to shock value and provocative outbursts; there was Woodstock the melancholy psychedelic, experimental singer-songwriter whose chiming acoustic guitar and rough hewn vocals simultaneously recalled the rural bliss of Mississippi John Hurt or Beck and the intense east coast neurosis of the two big Lou’s (Barlow and Reed); the acerbic wisecracking Jon Woodstock, an outspoken commentator on socio-political tension and pop absurdity, sorta like the one-man equivalent of George Carlin riffing on stage with Steve Martin after a night of perilous hedonism; or should we highlight the “skin bangin animal (who’ll) never be tamed”*, the cow bell obsessed drummer/percussionist Jon Woodstock who crafted 5 years of solid poly-rhythm for some of the 90’s weirdest avant garde/improvised music?

The answer is ‘ALL of the above’.

There was one Woodstock work that best represents the full breadth of his own work and that of Towson-Glen Arm’s unified effort. This would be Bomb, a two volume various artists compilation series which the artist assembled from around 1992 to August 1994. These cassettes were made up of excerpts from the mountain of tape recordings made and horded by Woodstock which documented most of his early 90’s audio output:  private home recording sessions, practice tapes, one-off jam sessions, snippets of spoken word poetry pieces, and sound collage. Woodstock’s participation in many of these cathartic moments represents the only recurring theme that ties the Bomb series’ recordings together. A visionary graphic designer, Woodstock created all of the artwork for these bizarre 90 minute extravaganzas, and he also supervised the replication and free distribution of these tapes which were issued in editions of roughly 10-20 copies (but probably also copied and dubbed unofficially thus making an exact number for the editions unknown).

The simply titled Bomb was the first volume. It was released in July 1994; the second volume, titled Bomb Droppings, was probably the bigger therefore more well known edition of the two. Bomb Droppings came out in late August of ’94 just before Woodstock briefly relocated to Eugene, Oregon.

Jon Woodstock Bomb ffront tape cover 1994

DETAIL jon-woodstock-bomb-ffront-tape-cover-1994-e1516305084362

Detail from the front cover art of the first “Bomb” tape designed by Jon Woodstock, July 1994. The photo’s origin is unknown.

To put it lightly, the Bomb tapes were all over the place. The innovative melodies and improvisations of T.E.A.M. were presented randomly with 10 second long recordings of impenetrable inside jokes and stoned crowd banter lifted from a lofi bootleg of a 70’s James Taylor concert. The sprawling noise-laden experimental music of Eve Pagoda and Big Huge Fucking Machine rubs shoulders with a sample of anthemic Donna Godchaux vocals from a DEAD show. There were baffling quiet versions of songs by ‘Rabelaisian hardcore’ band Lard Star recorded by LS itself. We hear Woodstock drumming in a trio with Lou Thomas on bass and future indie music hero David Berginder (of Celebration and Arbouretum) playing acoustic guitar, a recording that shares space with audio pastiches made from public domain interviews and performance excerpts that feature Woody Guthrie, Bob Marley, and even a raw confessional from an anonymous elderly black man who had been under aggressive surveillance by the KKK and racist police. Woodstock’s own one-of-a-kind introspective solo recordings were sprinkled liberally throughout all this chaotic weirdness.

The Bomb series also showcased the work of numerous TGA artists other than Jon Woodstock: Dave Willemain, Mike Apichella, Cory Davolos, Jim Sajor, Devon Till, Violet LeVoit, David Richardson, and the aforementioned Thomas all are well repped, plus there are guest appearances from members of the jam band Driver who featured the aforementioned David Berginder. Some of Berginder’s Driver band mates who might have been on the first Bomb include Dave Heumann, Scott Dorfler, Jason Wallace, and possibly others.

Jon Woodstock Bomb inside tape cover 1994

This is the inside cover art of the first volume of the Bomb tape compilation series. While Woodstock certainly was a great and imaginative curator for this series, his ability to accurately credit the artists whose work is compiled on Bomb wasn’t so great. Here now is an attempt to correct any major mistakes Woodstock made in his attributions: on side 1, track 6 drumming credits are given to ‘Shades’ (aka Mike Apichella) but this blurt of electronic sound manipulation features only ‘Hubcap’ (aka Woodstock); track 17 (“Girls Smell Good” by Hubcap) features an unknown drummer and probably not “Shades” who is erroneously credited for this. On side 2, track 16 once again features an incorrect drumming credit for ‘Shades’; that’s a ‘Hubcap’ solo recording sans percussion. Speaking of Hubcap solo recordings, here’s an interesting note: track 11 on side 2 (the first Bomb comp’s title track) features no recording date and according to Woodstock himself this was probably the first solo recording he ever made. He wasn’t sure what the exact date was when he put this song to tape, but said that this could’ve been made as early as 1992; if it was recorded in ’92 that means this is the first recorded & released example of acoustic Towson-Glen Arm music. Last but not least, the biggest mistake of all here comes with the complete lack of credits for “Engine #11”, side 1 track 13. This track was made by the recording-only project Big Huge Fucking Machine. This group also appears on side 2 performing “Tuli In A Box” where they’re credited as ‘Lil Devil’ aka Cory Davolos, ‘Shades’, and ‘Hubcap’. One last note on the production of these recordings: apparently Woodstock had both Bomb compilations mastered by a hippy audiophile whose nickname was ‘Grizzly’ (real name: Michael, last name: now forgotten). ‘Grizzly’ had a minimal home studio which he operated out of his 1 bedroom apartment in Timonium, Md.                                                                                                                                                                                                                                                                                             A note on the text/caligraphy: the messy hand written absurdities on the far left are mock “track notes” written by Mike Apichella who made the aesthetic choice to use either a magic marker with a torn tip or a leaky ball point pen

While the debut releases by Lesbian Chicken Maggot Blasters, The Nudists, The Preschoolers, and Spastic Cracker all did an amazing job of illuminating the wide artistic scope of work by individual TGA groups, so much of what made Towson-Glen Arm special was the intense feeling of community which bonded the young artists together making the entire scene itself occasionally seem like one big amoeba-esque collective that just kept shifting its conceptual form with each of its various artistic evolutions and ideological epiphanies.

The Bomb series stands as the major vintage document of Towson-Glen Arm’s work because it shows how the scene was defined by an ever evolving aesthetic and an unbridled force of art-as-community. Woodstock put these records out in order to showcase some of the scene’s high points and its most spectacularly messy works in progress, fleeting moments of hidden camera intimacy, his own unique ability to create a single work within many contexts, and everything in between.

Ultimately, the Bomb series is Jon Woodstock’s eternal tribute to the artistic movement that he helped create, warts and all.


Re-issued Bomb tracks that appear in The Towson-Glen Arm Freakouts compilation series:

Big Huge Fucking Machine – “Engine #11”

The version of “Engine #11” on TGAF is actually two Bomb tracks edited together: “Engine #11” and “Tuli In A Box”. The combinartion of the two tracks is a restoration of their original/pre-release form as one long extended improvisation.

T.E.A.M. – “March Of The Rent-A-Cops”

Hubcap – “Girls Smell Good”

The Retarded Dogs – “Harmonica Song (excerpt)”

T.E.A.M. – “Awe Shucks (excerpt)”

Hubcap – “Daddy”

Eve Pagoda – “Alan Thikk, Macho Capitalist Or Vanguard Of The Revolution?”

This track appears on the Bomb tape cover’s track list with the name ‘Thick’ spelled incorrectly with a ‘c’ ; Eve Pagoda member Dave Wilemain was the creator of this song title which originally featured the word ‘Thikk’. Assembling/preparing the Bomb collections for release was generally a solitary activity for Woodstock which found him rarely consulting any of the other artists featured on the tapes for any reason. This is probably why the Bomb series includes many credit errors.

T.E.A.M. – “Bison Pie (The Vegans Are Coming!)”


The following two T.E.A.M. recordings appear as c.d.-only bonus tracks on the Towson-Glen Arm Freakouts 2 compilation album: an excerpt from “Fencelicker Jones” (originally released on Bomb) and an excerpt from “Crisis” (originally released on Bomb Droppings)


* This is a paraphrasing of the lyric “This skin bangin animal will never be tamed” originally from The 6 O’Clock Alarm’s 1995 Jon Woodstock tribute song “Rock’N’Roll Man”

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The Fine Art Of Towson-Glen Arm: Tricia Lane-Forster – part 3

Tricia Lane-Forster - 'mom-mom's backyard' 2000

“Mom-Mom’s Back Yard” – 2000; vinyl, cloth, and cotton thread. Though the Towson-Glen Arm arts community ceased to exist around 1998 many artists remained loyal torchbearers for the TGA approach long after the echoes of late night copy shop trips and chaotic basment show blasts began to fade. Tricia Lane-Forster continues to aesthetically uphold and expand on the common TGA theme of freely mixing the mystical with the mundane. Tricia Lane-Forster: “This piece was in a small show I did at an ice cream shop on Cold Spring Lane (that is no longer there). The show was called “Meandering Embroideries”… It (depicts) my (grandmother) Mom-Mom’s backyard in Catonsville. She had a screened in porch and pretty gardens that I loved playing in/around. She had these great vinyl covered chairs with aluminum frames on the porch, there was fake grass on the floor and we would sit out there in the summer playing checkers and drinking cokes. I’m sure that vinyl was part of my love of the material…leading me to work with it so much later.”

tricia lane-forster 'a moment of silence in a very loud room' linocut 1992

“A Moment Of Silence In A Very Loud Room” – 1992, lino-cut print; inspired by a 70’s era photo of one of Lane-Forster’s cousins, elements of this piece were later incorporated into art for record covers, stickers, and even advertising by TGA band The Unheard Ones. Lisa Starace formerly of The Unheard Ones/Spastic Cracker/etc.: “For me, this piece captured this little moment where a kid, who doesn’t have a whole lot of power about his surroundings, takes control of the one thing he can do…blocking out the noise by covering his ears. I always loved the juxtaposition of the visual noise and the audio noise because I felt like (The Unheard Ones) were immersed in a creative community that blurred the two. And I felt like in the world at the time, there was a lot of noise…a lot of expectations of what music should be or what art should look like, and we were like the defiant kids who did our own thing, played our own way, and shut out the noise of what we were supposed to sound like or look like or act like. We used it on some stickers. It was always one of my most favorite of her pieces… she somehow managed to capture us individually while also showing how we interacted with each other and maybe even the people who listened to us. Tricia and I had been collaborating and living together and creating alongside one another for a long time, so it almost seemed like second nature that her work would (symbolize) our work…her visual voice is genius storytelling… out of its time and of its time… totally individual… She understood what we did better than almost anyone.” 

tricia lane-forster 'crazy banquet hall wallpaper' linocut 1992

“Crazy Banquet Hall Wallpaper” – 1992, lino-cut print. Tricia Lane-Forster: ‘The third print is a self portrait and a portrait of Paul Petersan* from 1992. It was a huge printing plate that took hours to carve…..maybe 18″ by 24″…’  

tricia lane-forster 'a sense of balance to search for' linocut-mixed media collage 1993

“A Sense Of Balance To Search For” -1993, mixed-media (lino-cut print/plastic/vinyl/stitching) Like a few other Lane-Forster pieces of this vintage, “A Sense…” contains design elements that were concurrently used as part of the cover art for Spastic Cracker’s self-released tape “Valve”, one of the earliest known Towson-Glen Arm records 

tricia lane-forster 'untitled' marker 1991 or 92

“Untitled”, marker drawing, 1991 or ’92. Tricia Lane-Forster: And then that really crazy marker drawing… it’s probably from 10th or early 11th grade. I was obsessed with Baroque and Rococo patterns that we learned about in art class. I drew doodles like that in all my notebooks at the time also.”

tricia lane-forster 1993, photo by Lisa Starace

Tricia Lane-Forster circa 1993 hanging out in Towson somewhere near Loch Raven Blvd. ; photo by Lisa Starace

*The musician Paul Petersan was a member of early TGA band The Retarded Dogs whose first concert was also the debut gig for Lane-Forster’s band Spastic Cracker

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R.I.P. Jon Woodstock, 1974-2017

The pioneering Towson-Glen Arm artist Jon Woodstock has passed away at the age of 43.

A longer post about Jon Woodstock’s important contributions is forthcoming.

Please send prayers and positive energy to Jon Woodstock’s family and friends in this time of grief

From Mike Apichella’s track notes to ‘Towson-Glen Arm Freakouts’ volume 1:

The unbelievable life story of former Glen Arm resident Jon Woodstock simply cannot be summed up in a paragraph. I’d say a 10 page essay might even be an inadequate way to tell Woodstock’s tale, so I am not even going to try to distill his complex, tragic, thrilling hurricane of existence….but I will say this about him: on his best days Jon Woodstock has been a great friend to me and one of the most positive influences in my life mostly for his haywire sense of humor, his raw honesty, and his masterful work as a multi-media artist. For all that and a litany of other things, Jon Woodstock is a legend in the purest sense of the word.

(below: Jon Woodstock – at third from left, holding a fake rifle – with experimental ska ensemble The Preschoolers; Woodstock served as drummer for this group during the early/mid-90’s; photo by unknown, courtesy of Sarah Kershaw)

Preschoolers 94 or 95 RAD photo by Sarah

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“To The Bridge, To The Bridge, Gotta Take It To The Bridge!”

tgaf - apichella, thompson, jack, photo by makowske, goin nuts at four corners Jacksonville, eaarly 90's

Goin nutz – absurd guerilla street theatre, Towson-Glen Arm style: l-r, Mike Apichella, Dan Thompson (of Colostomy Bag Pinada), and musician Jack Loercher confusing the livin’ hell out of Jacksonville, Md.’s Four Corners shopping center circa the early 90’s; photo and creative guidance by Scott Makowske

Oh, hi there! Yes, this is still an active blog. It’s been ages since a new post was made here, but that’s not because the project is running out of steam or ‘new’ material. No, there’s still plenty of TGA mayhem to be revisited, plenty of mega rare creative works to be rediscovered, and more wacked out photo documentation of the TGA crew in maximum anti-authoritarian action (i.e., the intentionally blurred, spazz-blasted Scott Makowske shot above)

But many responsibilities outside of blogging (responsibilites which seem to multiply all the time) have interfered with the ongoing effort to regularly archive TGA’s politically charged wackiness.

Til some more new original material makes it up here in a big way, it’s important to mention that one big twist in the Towson-Glen Arm tale came a few months ago when the legend of the “Journey Into The Night” tape (and it’s surprising/Preschoolers’ sparked cult following) was finally given a spotlight via a two part article published by the eclectic website Splice Today. The “Journey Into The Night” tape was a footnote in the TGA story, it was not created by any of TGA’s usual suspects, yet it was both anamolous and deeply connected to the scene, and it’s one of the most bizarre and fascinating works of outsider art ever to come from Maryland.

Links to both of the “Journey Into The Night” articles are presented below in chronological order:

Part 1:

Part 2:

….so, assuming that you still have your sanity after reading all that, there’s one last little addendum: As if the whole thing weren’t already totally unbelievable as is, apparently by some strange coinicidence all known copies of the tape have been lost(!), though a short sample from it does open up Silverfish Death’s ‘Guitar For Small Fries vol. 1’ tape. So if you know of anyone who might have a copy of the full recording please message the address in the ‘About’ section here cuz the world can never get enough weirdness and few things will ever be weirder than the “Journey Into The Night” tape.

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Mike Apichella’s first live solo show ever, w/ Violet LeVoit and guests; February 27th, 2017 in Baltimore, Md.

Now this is a mega-rarity: a post all about a NEW Towson-Glen Arm live show(!)

Mike Apichella (aka your humble blogger here) will be headlining a night of music and literary readings at Baltimore’s Windup Space on February 27th; doors open at 8pm. More info can be found at The Windup’s website:

Let’s dispense with the good old ‘3rd person’ stuff… this will be the first solo concert I’ve ever performed in front of an audience. I have performed and continue to perform solo live under the name Human Host* but within that context I’m playing material which is usually co-written/arranged with other members of the Human Host group. The show on 2/27 will feature material entirely composed and performed by me.

Though this will be my first live solo show, I have recorded extensively under my own name. Most of these recordings were done from the late 80’s to the late 90’s. Some have been lost and very few ever saw release during that time period, but those that were released back in the day are now re-issued on the first Towson-Glen Arm Freakouts compilation. You can hear these tracks via the links below. These tracks were originally recorded around 1995 but still sound like the material I’ll be performing on 2/27:

“Space Bike” by Mike Apichella

“The Last Day Of Summer” by Mike Apichella

Also on Feb. 27 the great Md expat writer/Towson-Glen Arm pioneer Violet Levoit** will be reading from her new novel “I Miss The World”. Well known for her involvement with the so-called ‘Bizarro’ literary movement of recent years, “I Miss…” showcases the Towson-Glen Arm aesthetic’s expansive quality to create a high energy outburst/narrative unlike any other you’ve ever read, a simultaneous  critique and celebration of pop culture and modern pathos set in the absurd yet beautiful Hollywood Forever cemetery in Los Angeles. Violet will be reading excerpts from “I Miss The World” and from some of her other less TGA-esque works.

Other artists performing on February 27th include writer China Martens, and the bands Violet Ripken and Preston Boxing Club.


*For a comprehensive/updated listing of Human Host shows check out or the various HH related Facebook profiles

**You can read an in-depth piece about Violet LeVoit’s role in the genesis of the Towson-Glen Arm movement here:

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Bill Jones: “Looking At The Page And Listening To It”

The English teacher/poet William Jones – often called Bill Jones – plays a distinctive role in the story of Towson-Glen Arm. During the 90’s Jones taught English at both Towson High and Dulaney High School, the two schools that the majority of the TGA artists attended. While teaching at Towson High and Dulaney, Jones became a major influence for the scene’s many outre writers and even some of its musicians and multi-media artists. Few other educators created as much of a buzz as Jones did among the TGA cognoscenti – for many students, past and present, his unconventional approach and the wildly creative atmosphere fostered in his class room were just as metaphysically action packed as any of Towson-Glen Arm’s visceral live music concerts and bizarre performance art spectacles.

There was an intense bond of respect between Bill Jones and Towson-Glen Arm. Jones has said that the TGA artists he worked with in his English classes comprised “a very special group” and he even referred to TGA poet Alicia Rabins as “a phenomenon”. Jones’ support of the TGA movement’s seminal literary works played an important part in inspiring him to organize and curate one of the scene’s most legendary events: the first Towson High School Coffeehouse talent showcase.

The first THS Coffeehouse was held on May 22nd 1994. Among the student performers featured that night were TGA artists Alicia Rabins, Diego Ramos, Claire Mysko, Daphne Davis, and Dave Willemain who gave an outrageous dramatic/comedic reading of his stories ‘Dunk-A-Balls’* and ‘The Routine’ accompanied by the instrumental improv music of Scott Gilmore and Spence Holman. The performances at this event (mostly poetry readings) were video taped in their entirety by Violet LeVoit. This tape is the most comprehensive existent video documentation of a non-music TGA event, and it is perhaps most notable for featuring the only known recording of a spoken word performance by Dave Willemain.

To understand why Bill Jones was a powerful force in the development and legacy of TGA the best thing to do is let the man speak for himself. Below is a spirited and entertaining interview with Jones that was originally published in the 1993 edition of Towson High’s Colophon literary magazine. Additionally there are also a few photos of Jones as he appeared during the TGA’s scene’s heyday in shots taken from Towson High School yearbooks:




Bill Jones working with student Caroline Mitten at Towson High School circa 1994

Bill Jones working with student Caroline Mitten at Towson High School circa 1994

Bill Jones' 1994 Towson High yearbook photo

Bill Jones’ 1994 Towson High yearbook photo

*a recording of Dave Willemain’s powerful THS Coffeehouse reading (with an introduction by Bill Jones) can be found here:

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“Okinawa in blue cheese” or The Day That Towson-Glen Arm Wrote In My Yearbook

The haywire aesthetic of Towson-Glen Arm was ever present. No matter what the young artists of the north County underground were up to, an overwhelming sense of absurdity and skewed political consciousness ran through everything they created from music, to zines, to graphic design, to performance art, and even something as mundane as the words they chose to casually sign in a friend’s high school yearbook:

Incredibly strange prose written by Josh Marchant in Andy Devos’ 1995 Dulaney High School yearbook. The line “All hail to the Guru” is in reference to Devos’ performance art/joke musical group Guru Magpie, one of the most influential latter day (1995-1997) Towson-Glen Arm acts (courtesy of Andy Devos)

The TGA artist Josh Marchant managed to summarize his brutally subversive weirdness, but summary was definitely NOT the intention of the crazed teen eccentric/former Retarded Dogs member/lacrosse star(?!?) Scott Makowske*. Mallarme would be pleasantly humbled by the frantic rambling that Scott left as a memento in the 1993 Dulaney High School yearbook that belonged to his close friend Mike Apichella. Makowske’s hand writing in said yearbook was appropriately messy and tough to read, so, instead of featuring an actual scan of what he wrote, included below is a transcription of it. Absolutely no word here has been embellished or changed, there are no mistakes, and any errors in grammar, spelling, punctuation, or tense were 110% intentional aesthetic choices made by the artist. Many of Scott Makowske’s fellow students are mentioned here as are various random celebrities and pop culture references (all google-able/wiki-able), but these all have little effect on this text’s conceptual thrust. No matter how you look at it Scott Makowske used his words to fire off a grand blast of literary chaos :

“When you are walking home from school, when you watch ‘Leave It To Beaver’ , when you watch ‘Bachopgalupe’ you wil die of a hernia with Will Smith and Joey Lawrence – (Bob Villa). Well this year has been pretty lame since we haven’t been in classes together but maybe next year we will (YEAH!). You will be off at Harvard or Yale or wherever you decide to go. Or you will just marry the god of all gods, the king of all kings, the oatmeal of all oatmeal, the king of the crop, the crop to the cream ED EIFORT! I think I really see a future for you and Mike Coe. I really think that Jason Koplin will be the next Ed McMan or jeepers creepers what about those hamhocks. Jeepers shamrocks I don’t know why Jason Shoemaker ate apples with Mike Watson and Brad Marsiglia will turn into a Dave Kean is the king of all gods if you don’t tell me and Steve Gallblatts. I really like the Eroft Eredshi song but it wasn’t a greese pit at K.F.L. because the cornal didn’t watch enough cartoons because Larry Holmes lost to Jason Eden so watch t.v. with a butterknife or you won’t win the battle of the sexes with Tom Kite or Larry Johnson. But on the normal side, warn wong, wang dang, bang yarn, arn barn, dayhack or I don’t whin a Whinny Cooper or Jason Moon. I was walking in the park one day in the Mary Little month of Mayyy I was turning into cheese my breath started to smell like Celeste’s nostril hair. Well you can tell by the way I use my teeth I’m a dentist and no time to cheat. I’ve been knocked around since I beat off. If you don’t watch yourself you might die of a Okinawa in blue cheese if you don’t watch your back the nitsquad will come after you with a spoon and The Sunfish might lose to The Crab Cakes if you win the Brett Mather Bowl of the super fish you might die in summer.

Bob Villa’s Nostril hair might explode into a big piece of spaghetti and play advance to board walk with my Polka Inn disease. I cant wait until next week when we go to the “Bug” show yeah!!!! If you will watch what you say you might not die and go to ham heaven but if you win the super bowl you might not eat cheesecake you will win the Missouri Compromise to win the Dudley Doright because he went to basket heaven.

I don’t smoke beer. I drink ham. I don’t kill sheep. I don’t sleep with fish.

Look, a flock of killer sheep.

Night Fever. Disco Inferno. Macho Man. Heart Of Glass. 5th Of Beethoven. Car Wash. I Will Survive. More Than A Woman. Stayin’ Alive. Ladies’ Night. Funky Town. Do The Hustle. Celebration. Y.M.C.A.

Sample of Brad Presly.

Your best buddy,
Scott Makowske

p.s., Watch out for your I will turn into a soil (yeah)!!”

*Just in case you’re wondering, here’s the correct pronunciation of Scott Makowske’s last name: “mah-kow-skee”. You can find more info. on Scott Makowske elsewhere on this blog, here’s a great place to start:

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