{
  "document_id": "lb_hotpotqa_eac05e5d0936f802e28b0c5081a2c2a1a94fe4f2c20cb2df",
  "family": "public_hotpotqa",
  "split": "test",
  "text": "Passage 1:\nReggae rock\nReggae rock is a subgenre of reggae fusion and rock music that primarily uses the genres reggae, rock, and ska. Typical lyrics of reggae rock songs incorporate love, personal awareness, and life challenges while incorporating music and beat elements of rock, punk, and hip-hop. The term \"reggae rock\" has been used to categorize bands like the Police, Men at Work, Sublime, Sublime with Rome, No Doubt, Pepper, Slightly Stoopid, the Expendables, Iration, the Dirty Heads, Rebelution, 311 and, to some extent, heavier bands such as Bad Brains.\nAmong the earliest examples of the genre are the 1972 songs \"D'yer Mak'er\" by English rock band Led Zeppelin and \"C Moon\" by Paul McCartney and Wings.The term \"reggae metal\" has been used to describe bands that combine reggae rock with heavy metal, such as Dub War, Shinobi Ninja, Skindred, Twelve Foot Ninja, and Zeroscape. Reggae rock found its rise in popularity in the 1990s in Long Beach, California, with the band Sublime. The genre has lately found a boost in popularity with the 2010 song \"Lay Me Down\" by the Dirty Heads featuring Rome Ramirez from Sublime with Rome, which peaked at number 1 on both the US Billboard Alternative Songs and Rock Songs charts.With reggae rock rising in popularity, the genre was included in the inaugural California Roots Music & Arts Festival in 2010.\nPassage 2:\nStreet punk\nStreet punk (sometimes alternatively spelled streetpunk) is an urban working class-based subgenre of punk rock, which partly emerged as a rebellion against the perceived artistic pretensions of the first wave of British punk. Street punk emerged from the style of Oi! and hardcore punk bands. A key band in defining the aesthetic was the Exploited. Street punks generally have a much more ostentatious and flamboyant appearance than the working class or skinhead image cultivated by many Oi! groups. Street punks commonly sported multi-coloured hair, mohawks, tattoos, heavily studded vests and leather jackets, and clothing, especially plaids, adorned with political slogans, patches, and/or the names of punk bands. In the 1990s and 2000s, a street punk revival began with emerging street punk bands such as the Casualties.\n\nCharacteristics\nStreet punk music is characterized by single-note guitar lines and short solos. Unlike similar genres, such as traditional hardcore punk, street punk bands sometimes consisted of two guitarists, one of which plays guitar melodies while not singing. Street punk also makes frequent use of communal vocals, gang vocals, and sing–along choruses. Street punk lyrics commonly address topics such as fighting, drinking, partying, inner-city turmoil or personal relationships. Street punk bands sometimes express political viewpoints, typically of a left-wing variety, although some street punks eschew politics altogether in favor of a more hedonistic, nihilistic outlook. Street punk also had influences from New Wave of British Heavy Metal bands like Iron Maiden and Motörhead.Punk veteran Felix Havoc said:\n\nIt was aggressive, yet had melody. As opposed to today's \"melodic\" punk it still had a lot of energy. It was honest. Hence the term \"street punk.\" There is and was a feel that this was the kids music, from the streets, and was uncorrupted by \"professionalism\" or \"musicianship.\" As opposed to the anarcho bands its message was more bleak and irreverent. The music was not a-political, just a less intellectual expression of political views of working class youth. The music was marketed as being of and by the working class. I suspect this was not universally the case. Still most middle and upper class kids cringe at frank discussions of violence as evidenced in a typical Blitz song. Early 80's UK punk was catchy as hell; it has sing-a-long choruses and hooky riffs.\n\nHistory\nOrigins (1980s)\nUK 82\nUK 82 (also known as UK hardcore or second wave punk) took the existing punk sound and added faster drumbeats and an aggressive distorted guitar sound. The term UK 82 is taken from the title of a song by the Exploited. Cross-pollination existed between this era of British street punk and American hardcore punk.The lyrics of UK 82 bands tended to be much darker and more violent than the lyrics of earlier punk bands. They tended to focus on the possibilities of a nuclear holocaust, and other apocalyptic themes, partially due to the military tension of the Cold War atmosphere. The other mainstay of the lyrics of the era was unemployment, and the policies of the Conservative Party government. Lyrics frequently denounced the Conservative leader Margaret Thatcher in the same way that American hardcore punk bands addressed the Ronald Reagan administration.\nThe three most prominent UK82 bands, according to Ian Glasper, are the Exploited, Discharge, and GBH. The Exploited were controversial due to their aggressive lyrics and rowdy concerts, and were considered by Glasper to be \"cartoon punks\". Glasper wrote: \"For many, The Exploited were the quintessential second wave punk band with their senses-searing high-speed outbursts against the system, and wild-eyed frontman Walter 'Wattie' Buchan's archetypal orange mohican.\" Discharge's early work proved to be enormously influential, providing the blueprint for an entire subgenre. Their later work, however, has been described as moving into heavy metal.\n\nD-beat\nD-beat (also known as Discore or käng (boot), in Sweden) was developed in the early 1980s by imitators of the band Discharge, for whom the genre is named. The first such group was the Varukers. The vocal content of D-beat tends towards shouted slogans. The style is distinct from its predecessors by its minimal lyrical content and greater proximity to heavy metal. It is closely associated with crust punk, which is a heavier, more complex variation. D-beat bands typically have anti-war, anarchist messages and closely follow the bleak nuclear war imagery of 1980s anarcho-punk bands. The style was particularly popular in Sweden, and was developed there by groups such as Anti Cimex and Mob 47.\n\nRevival (1990s and 2000s)\nIn the 1990s, a new era of street punk began with emerging street punk bands like the Casualties and Rancid, The Casualties became one of the most well-known street punk bands and achieved underground success. Their 2004 album On the Front Line peaked at number 8 on the Independent Albums chart. On the Front Line and the Casualties' 2006 album Under Attack peaked at numbers 7 and 9 on the Heatseekers Albums chart, respectively.\n\nSee also\nClockwork Orange punks\nList of street punk bands\nOi!\nPassage 3:\nMidnight Snack Break at the Poodle Factory\nMidnight Snack Break at the Poodle Factory is the only album by Punk jazz supergroup Midget Handjob, formed by former Black Flag and Circle Jerks singer Keith Morris. Stylistically, the album combines elements of hardcore punk, jazz, and spoken word. It was released on Epitaph Records on September 26, 2000.\n\nTrack listing\nPassage 4:\nBrisbane punk rock\nBrisbane punk rock had its main impact between 1975 and 1984 as part of the overall punk rock scene in Australia. According to rock music historian, Ian McFarlane, the Queensland capital provided \"some of the most anarchistic bands\" of that era whilst it was \"arguably the most conservative city\" in the country. The development of the local punk movement differed from other cities because of its relative geographic isolation from other similar trends. The Brisbane scene also received a greater scrutiny by local police where early punk bands formed as \"an obvious backlash to an oppressed society\". This generated antagonistic and individualistic groups or \"snot\" driven punk bands.\nThe Brisbane punk rock movement can be divided into four phases. First, there was the pioneering chapter, which lasted from 1975 to 1977. These bands were either innovators or part of the first wave of local punk bands. Foremost of all such groups are the Saints, which are acknowledged as \"Aussie punk pioneers\". The second phase occurred between 1978 and 1980, which McFarlane described as \"the second generation\" of punk groups. The next period or \"third-generation\" spanned from 1981 to 1984 and diverged into two subgenres: hardcore punk and post-punk. The fourth period, during 1985 to 1988, developed three styles: Detroit rock (and the closely aligned garage punk), hardcore punk and skate punk – the Brisbane punk rock movement had become alternative rock.\n\nHistory\nPioneers (1975–77)\nBrisbane punk rock developed under the state government of Joh Bjelke-Petersen, the Premier of Queensland from 1968 to 1987; his administration was investigated by the Fitzgerald Inquiry (1987–89), which found \"long-term, systemic political corruption and abuse of power.\" Bjelke-Petersen resigned, two of his ministers and the state's police commissioner were jailed for corruption charges. Doug Hutson and Gavin Sawford co-wrote in their book from 1988, Out of the Unknown: Brisbane Bands 1976-1988 that, \"Authority's intolerance of anything different, which, to be fair has since considerably diminished, reflects the peculiar suspicious verging on animosity that Queenslanders as a whole hold for anyone who leaves the cultural straight and narrow of beer, beach and burgers.\"Kid Galahad and the Eternals were a garage rock band formed in 1973 in Brisbane by school mates: Chris Bailey on lead vocals, Ivor Hay on piano and Ed Kuepper on guitar. Locally they earned a reputation for their punk attitude after a debut performance at a Returned and Services League venue in the western suburbs. Bailey described the first gig to a United Kingdom fanzine, Sniffin' Glue, in October 1976, \"Then after our second drummer walked out and we almost called it 'quits' but we decided to keep playing to the 30 people (from an original 150 patrons) who were still with us. Before the last number the manager of the hall arrived with cops, turned off the power... The cops told us they would confiscate our equipment if we didn't go, so we went.\" By the end of 1975 the band added Kym Bradshaw on bass guitar and moved Hay to drums; soon after they changed their name to the Saints.The Saints favourite rehearsal space was a shed behind Hay's home, which was near a police station; after the group were \"ostracised\" by the local music scene they established their own venue to perform their original material. Located at 4 Petrie Terrace, it was named Club 76. Kuepper later opined \"we didn't play until we started putting on shows of our own, and then the cops would break them up anyway, as they did any sort of gathering.\" The Saints' debut single, \"(I'm) Stranded\" (September 1976), was issued on their own Fatal Records label. Copies were sent to local, national and international media and record labels. \"(I'm) Stranded\" came to the attention of the UK musical press and fitted neatly into the punk sound and attitude in London. Sounds magazine's Jonh Ingham declared it \"Single of this and every week.\": 57–76  Jon Savage, UK journalist and punk historian, later wrote that the Saints \"had been developing in near isolation for three years, but it took just one review in Sounds magazine to make their career.\"The Saints arrived in the UK in 1977 but found that their hair and image did not fit the UK punk dress codes. The locals were sporting spiky hair and brothel creepers, instead the group had appeared similar to street bums with attitude. Kuepper reflected on their reception, \"By the time we got here the initial spirit already died out, it was very contrived. There were too many people following slavishly after. We had problems because we didn't look new wave.\" The Saints reached the UK charts with their third single, \"This Perfect Day\" (July 1977), after the Sex Pistols had released their second single, \"God Save the Queen\" (May).\nThe Saints released (I'm) Stranded (February 1977) and followed with Eternally Yours (May 1978), which included their single, \"Know Your Product\" (February). Australian musicologist, Ian McFarlane, declared that \"Know Your Product\" was \"one of the greatest R&B-fuelled rock songs of all time.\" A third album, Prehistoric Sounds, was released in October before Kuepper left. Bailey formed a new line-up of the Saints in 1980; however, their punk edge was lost without \"Ed Kuepper's relentless power chords.\" In May 2001 \"(I'm) Stranded\" was listed in Australian Performing Rights Association's Top 30 Australian songs of all time. (I'm) Stranded was listed at No. 20 in the book, 100 Best Australian Albums (October 2010), with Prehistoric Sounds at No. 41.In 1976 the Leftovers were formed in Sandgate, as \"Australia's first true punks in the Sex Pistols mould\" according to music writer, Clinton Walker. Walker felt they were \"obnoxious, anarchic, anti-social, powerful, violent and with a strong self-destructive bent.\" They gained local recognition for their existentialist approach. On Behind the Banana Curtain (2000, a CD compilation sponsored by the radio station, 4ZZZ) they were described as \"Raw, intoxicated, energetic and antisocial.\" The Leftovers experienced \"continuous harassment from the local constabulary\"; and a history that included, a \"story of prison, the shocking aftermath of attempted suicide and now-numerous deaths.\" In June 1979 they released their only single, \"Cigarettes and Alcohol\", which McFarlane declared was \"one of the classics of the late 1970s Australian punk rock era.\" They disbanded later that year.Also from this period were the Survivors (formed in 1976 as Rat Salad), which issued a sole single, \"Baby Come Back\", in December 1977. It was included on the Lethal Weapons (May 1978) compilation by various Australian punk bands. During this era Brisbane punk rock venues included the Hamilton Hall and Toowong RSL hall. Hutson and Sawford stated that \"Two of the more notorious DIY venues were the Saint's 76 Club ... and the Baroona Road Hall, scene of numerous 'one-off' multiple band gigs.\"From November 1975 4ZZZ broadcast local punk music; John Stanwell, its original Arts Administrator, explained, in September 2006, that it was \"The first (Radio) station in the world to play The Saints.\" The era was documented in a fanzine SSuicide Alley, arguably Australia's second punk fanzine, which was printed in Brisbane in April 1977 by Walker and Andrew McMillan. Walker detailed the late 1970s Brisbane scene through his contemporary work for University of Queensland paper, Semper, and another fanzine, Pulp.: 12  His later books include Inner City Sound (1982) and Stranded: The Secret History of Australian Independent Music 1977–1991 (1996).\n\nSecond phase (1978–80)\nThe Brisbane punk movement expanded from 1978: the \"second generation\" of bands were formed. They were given air time on 4ZZZ, David Macpherson of ToxicH website described how the \"DJs Michael Finucane, Bill Riner, Tony Biggs, Andy Nehl and others were influential in playing the new music.\" One band, which benefited from such airplay, was Razar with their track, \"Task Force (Undercover Cops)\" (1978). Hutson and Sawford described them as a \"Youthful and popular punk outfit which attracted a lot of attention due to their controversial material.\" The lyrics of \"Task Force\" dealt with the Queensland Police special branch, or \"Brisbane's notorious undercover police.\"Razar, and most high-profile Brisbane punk groups, received intense scrutiny from the local constabulary with their venues often raided and closed. 4ZZZ's Dave Darling, and an independent concert promoter, recalled: \"We encountered problems with police just like everybody else did that tried to run a venue... 9 out of 10 of them I don't think ever made the final song... and [we would] disguise them from Task Force knowing they were on, but eventually in the course of the night one of them would find out and next thing you know you had all of them there...\" Hutson and Sawford elucidated that, \"In fact it wasn't uncommon for police, both uniformed and Special Branch plainclothes, to regularly break up concerts by bands such as Razar, the Leftovers and the Sharks, who were considered among the more subversive and threatening local talent.\"The Fun Things, originally known as The Aliens, were an outfit that characterised the Detroit sound inspired by Sydney-based punk group, Radio Birdman. Fun Things recorded a track, \"When the Birdmen Fly\", released on their self-titled EP. According to McFarlane, \"The Fun Things issued what has emerged as one of the most collectable artefacts of the Australian punk rock era, the Fun Things EP which came in a pressing of only 500 copies.\" The band members, John Hartley, Brad Shepherd and, his older brother, Murray Shepherd, went on to join other bands, including the Hoodoo Gurus for Brad and The Screaming Tribesmen for Hartley and Murray.Zero, a feminist-styled punk band, (although some critics considered Zero to play a more quirky sort of pop, or New wave music) were present on the local scene. Their contributions were seen as \"colourful and imaginative\". Zero changed their name in the 1980s to Xero and released an EP in 1982. The line-up included John Willsteed and Lindy Morrison, who both went on to the Go Betweens.Another youthful Brisbane punk band was the Young Identities, which mostly consisted of brothers Gavin, Clayton and Rod McLeod. According to McFarlane, the band presented \"plenty of youthful energy, belligerent spirit and all-important punk attitude. Young Identities issued two rare EPs of ultra-primitive, snot-nosed punk\". In the 1980s the band changed its name to Kicks and joined the rising Goth rock sound.Other artists from this second phase included the 31st., the Alphabet Children, the Bodysnatchers, Flying Squad, Gerry Mander and the Boundaries, Just Urbain, the Leftovers, the Pits, Same 13, the Survivors, the Swell Guys, the Toy Watches, the Upsets. Fuller Banks & the Debentures, supported UK group the Stranglers at the Queens Hotel, other groups played spasmodically, generally at hall gigs. The Stranglers issued a single in October 1979, Nuclear Device (The Wizard of Aus), which focussed on Premier Bjelke-Petersen and his political style. It peaked at No. 36 in the UK singles chart.Also during 1979 a track, \"Sunset Strip\", released by the Numbers (later renamed the Riptides), was a punk-like tune, which had regular 4ZZZ airplay. It was regarded by Stephen J. McParland as \"punchy and energetic and featured a brilliant, English-flavoured 1960s-inspired pop sound.\"Venues that hosted punk gigs, largely booked and promoted by 4ZZZ, during this second phase include Exchange Hotel, Queens Hotel, The Curry Shop, Baroona Hall and the Silver Dollar Disco. Rotten Import Records was a shop dedicated to punk music in 1978 and The Elizabeth Street Bar (nicknamed White Chairs) – a hang out for punk, new wave or alternative rockers from 1980 to 1987.\n\nThird generation (1981–84)\nThis phase centred on the early to mid-1980s. The dark mood of the bands reflected the changing dynamics of punk. \"As the restrictive measures of punk, and all the clichéd fashion statements it entailed, came to a close, post punk groups took up the gauntlet. These exciting new bands used the DIY spirit to launch a more introspective, even gloomy, but still vibrant sound.\" said Jason C. Reeher in his review of Post Punk. Many of the Brisbane bands absorbed the darker edge due to the post-punk fashion; however, several of these newer groups continued on the same seditious punk path that was distinctive to Brisbane.\nZits, a punk venue in the Fortitude Valley during 1982, was instrumental for putting on the early appearances of last wave punk groups such as Mystery of Sixes (mix of hardcore punk and death rock influenced by The Stranglers and Bauhaus), Vampire Lovers (garage – death rock style of punk) and Public Execution (Black Flag inspired). After the closure of another punk venue in 1984, The Aussie Nash (at the Australian National Hotel) there was a general decline in punk band numbers participating in the local scene.The Mystery of Sixes self-titled song, \"Mystery of Sixes\", received substantial airplay on 4ZZZ. Jello Biafra, (Dead Kennedys) reviewed their EP's songs as such, \"this Brisbane band is a little more on the post-punk side. They definitely live in their own world, especially when the Arabic – style vocals on the title song are taken into account. The lyrics have Satanic overtones.\" It was asserted in 2000 that \"the band quickly gained a reputation for courting controversy,\" by being banned by the Australian Broadcasting Tribunal and by the acts of violence at various times perpetrated upon them with knives and guns. The Mystery of Sixes, along with Public Execution supported the Dead Kennedys in Brisbane in 1983.Meanwhile, the Vampire Lovers were the type of group, according to the Bucket full of Brains magazine, to \"embody an enjoyably snotty early eighties zombie-punk-schlock vibe.\" It was claimed that \"Through their intermittent break ups and infrequent gigs, has enjoyed special cult status throughout Australia\". Buzzsaw Popstar their most recognisable song was declared by Rob Younger (from Radio Birdman) \"a masterpiece\". They disbanded in 1984 only to reform in 1988 after the popularity of the Buzzsaw Popstar 1987 single re-release.The Black Assassins were another popular live punk band from the early 1980s. The band claimed that, \"Their songs and stage act were energetic and highly political, focussing on issues of the day...\". The Black Assassins supported the Dead Kennedys at Brisbane's Festival Hall in 1983.During the same early 1980s period 'hardcore' punk bands also appeared in Brisbane, particularly from 1983 onwards. Two of the more prominent hardcore groups were New Improved Testament and the La Fetts. New Improved Testament, existed from 1983 – 1984 with Fred Noonan on drums. Fred Noonan also drummed previously with Public Execution and went on much later to Six Ft Hick.\"Hard and abrasive 4 piece which attracted a large and often violent reaction\", was how Hutson and Sawford described La Fetts. La Fetts' track, \"SEQEB Scabs\" (1985), was written by the group's Peter de Hesse in protest against Bjelke-Petersen's government sacking over 1000 electrical industry workers for going on strike.: 174–175 Of other Punk bands of Brisbane's third generation were Aftermath, Dumb Show, Kicks, Pictish Blood, The Pits, Strange Glory, Toxic Garden Gnomes, Xero, The Differentials and studio band the Parameters – who were known for their punk spirited song, '\"Pig City\", which was released as a single in September 1984. Andrew Stafford used it in the title of his book, Pig City: from the Saints to Savage Garden (2004). He explained the choice: \"it was really a rallying call, and a signature song for Brisbane at that time. Certainly if you listened to ZZZ in that period, the song was inescapable and it was so symbolic of living in Brisbane at that time, it described so vividly what it was like to live here. And also, it described police and political corruption in this State three or four years before anyone had heard of Tony Fitzgerald.\"Popular venues from this particular time include Amyl's Nitespace, Zits, The Australian National Hotel, and the South Brisbane Blind Hall. The Treasury Hotel downstairs, near the Elizabeth Street Bar (White Chairs) became an important hang out for those of a Hardcore Punk and Oi! persuasion during the stretch of 1983 to 1987.\n\nFrom punk to alternative rock (1985–88)\nDuring 1983 a large number of Alternative acts appeared in the local underground music scene. Brisbane's original spirit of punk begun to wane; eventually it was lost in 1985. It was superseded by the Alternative Rock movement.\nIt has been said, \"Essentially, \"alternative\" is a catch-all for post-punk bands that appeared as new wave began to die out in 1983–84, and runs all the way into 1995, when alternative pop/rock is the mainstream.\"Although a number of Brisbane bands continued with punk after 1984, they became absorbed as part of the alternative rock scene. The Brisbane punk groups of the late 1980s were influenced by the strong Sydney music scene as well as from California's hardcore.Generically speaking, the punk music scene in Brisbane during the mid to late 1980s period split mostly into three main basic categories. These categories during this time were the Detroit rock and the closely aligned Garage punk groups, with Hardcore punk bands being almost as large in number. A smaller contingent of Skate punk groups made the third category. Stylistically or in a Punk fashion sense, many of the bands (except for some of the hardcore scene) and their fans replaced the generic style of outlandish hair (for the period), cheap items of attire, sewn-in tight trousers, leather and PVC for longer hair, casual clothing sometimes incorporating skater shorts and skateboards, which was in line with the skate punk style.\nBands of the early 1980s, such as The Screaming Tribesmen and Presidents 11 originally began with aspects of punk, however, they quickly diverged beyond the punk genre to explore wider alternative tastes. Also since the early 1980s, an assortment of Punk fusion bands speckled the local punk movement, with a mixture of various musical styles that belonged outside punk rock including Country and Western (The Kingswoods and Tex Deadly and the Dum Dums, both early to mid 1980s), Ska (BLoWHaRD, late 1989 to 1990s), Rockabilly (The Skeletones, mid 1980s) and Heavy Metal (The Dreamkillers, late 1989 to 1990s)Brisbane punk bands that belonged to the particular era between 1985 and 1988 are as follows. ACT, The Adorable Ones, Bad Ronald, Criminally Insane/Rabid Souls, Death of a Nun, The Dinky Flyers, Disorderly Public Outbreak, The Egyptians, The Four Horsemen, The Girlies, The Horny Toads, Hotel Breslin, La Fetts, Insane Hombres, The Pineapples from the Dawn of Time, Post No Bills, Prince of Weasels, Never Again, Oral Injuy, Psycho Circus, Reality Damage, Sanity Assassins, The Slam, Subsonic Barflies, Thrash this Trash, Vampire Lovers, Voodoo Lust, Crucified Truth, Dementia 13, Mungabeans, Water Rats Picnic, Aloha Pussycats and one of Brisbane only all female bands Batswing Saloon, Sentinel and Trash of all Nations.[1]\nVenues include The Outpost, The Lands Office Hotel, Sensoria and The Love Inn.\n\nA new political era? (1988 onwards)\nBrisbane has continued to produce acts which espouse punk ideologies and/or aesthetics, diversifying in attitudes and stylistic influences according to international trends characterising the nineties. While the overt police brutality of the Bjelke-Petersen era waned after the end of his reign in 1987, Brisbane was still experienced as stiflingly conservative, and post World Expo 88, increasingly expensive. Alternative rock, post-punk and skate punk continued, with additional influences of 90s grunge, hardcore, shoegaze, indie-pop, ska and pop-punk trends. Performances diversified to reflect an increased representation of feminine, queer, post-modern, surrealist and/or overtly ideological perspectives relative to the raw, 'snot-driven', straightforward approach of punk predecessors more closely influenced by rock and roll. The latter was still channeled to an extent, but its prominence and subversive reputation had yielded to the political ambiguities of the nineties.\nIn 1993, 4ZZZ purchased their Fortitude Valley headquarters from the Communist Party of Australia, which had diminished in relevance following the dissolution of the Soviet Union. 4zzz has since persisted to operate in this settled, alternative cultural zone, in which punk aesthetics and/or ideals have been a mainstay alongside the station's prominent new left orientation and anarchist and/or socialist activists.\nNotable bands beginning in the 1990s include Brisbane underground music mainstays Clag, who music journalist Everett True described as \"...a beacon of weirdness, surreal humour and unrepentant femaleness.\" Clag employed 'reckless genre swapping', unconventional stage theatrics and goaded their audience with banter, resulting in hecking that front-woman Bek Moore described as 'fairly vicious' and 'involved people throwing things'. \nAn example of Brisbane punk of the mid-early 2000s was Anal Traffic, who used sexually-charged shock value, blatant parodies of rock stage conventions, and intentionally unconventional bricolage outfits to reinforce sardonic, politically-charged lyrics.\n\nRecent years (late 2000s-present)\nVenues including Trainspotters, Stepinn (defunct), Prince of Wales Hotel, The Trans, the Foundry, the Bearded Lady, the Beetle Bar (defunct), the Underdog (defunct) have hosted performances in recent years, along with informal spaces such as the William Jolly Bridge. A prominent example of Brisbane punk culture noted by music journalist Everett True is the Negative Guest List punk zine which released printed volumes from 2009–2012, one of which is archived in the National Library of Australia.\n\nSee also\nList of Brisbane suburbs\nPig City music festival and symposium\nPopular Theatre Troupe\nThe Cane Toad Times\nBrisbane Live Music\n\nBibliography\nHutson, Doug; Sawford, Gavin (1988). Out of the Unknown: Brisbane Bands 1976–1988. Brisbane: Time Off.\nMcFarlane, Ian (1999). The Encyclopedia of Australian Rock and Pop. St. Leonards, NSW: Allen & Unwin. ISBN 1-86508-072-1.\nMcKinnon, Robert; Negric, Frank (1986). \"The Absolute Beginners Guide to Brisbane Bands\" November 1986 pp. 13-15 Semper Floreat. Brisbane: University of Queensland Union.\nSavage, Jon (1991). England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond. New York: Faber and Faber.\nSpencer, Chris; Nowara, Zbig; McHenry, Paul (2002) [1989]. Who's Who of Australian Rock (5th ed.). Noble Park, Vic: The Five Mile Press.\nWalker, Clinton (1981). Inner City Sound. NSW: Wild & Woolley. ISBN 9780909331481.\nWalker, Clinton (1996). Stranded: The Secret History of Australian Independent Music 1977-1991. NSW: Pan Macmillan.\nPassage 5:\nList of Circle Jerks band members\nThe Circle Jerks are an American punk rock band which consists of vocalist Keith Morris and guitarist Greg Hetson (both since 1979) alongside bassist Zander Schloss (since 1983), and drummer Joey Castillo (since 2019). The band was formed in Southern California in 1979, and originally comprised Morris, Hetson, Roger Rogerson on bass and Lucky Lehrer on drums.\nThe first Circle Jerks lineup released three albums (including their 1980 debut Group Sex), before Rogerson and Lehrer were kicked out of the band in 1983 and replaced by Earl Liberty and Chuck Biscuits respectively. This lineup lasted only a year, and the Circle Jerks hired Zander Schloss and Keith Clark as Liberty and Biscuits' replacements. The new lineup, consisting of Morris, Hetson, Schloss and Clark, recorded two more albums before the Circle Jerks split up for the first time in 1990, when Hetson left to concentrate on Bad Religion, which he had joined a few years before.\nA long period of inactivity ended in 1994, when the Circle Jerks, with the 1984-1990 lineup, reunited and signed a major label deal with Mercury Records, a move that had a few business complications: Hetson was still with Bad Religion, who had signed a long-term contract with Atlantic Records, while Schloss had been part of a band contracted to Interscope. After ironing out these difficulties, the band recorded Oddities, Abnormalities and Curiosities and released it in the summer of 1995, but broke up once again. Reasons for this breakup were essentially the same as they were in 1990.\nA second Circle Jerks reunion occurred in 2001. Participating this time were Morris, Hetson, Schloss and Kevin Fitzgerald, who filled in on drums for Clark, who at that time had retired from the music business. Tensions among its members and failed attempts to record the follow-up to Oddities, Abnormalities and Curiosities resulted in the Circle Jerks breaking up yet again in 2011. The band announced in November 2019 that they would reunite in 2020 to celebrate the 40th anniversary of Group Sex with live shows.\n\nMembers\nCurrent\n\nFormer\n\nTouring\n\nTimeline\nPassage 6:\nYours Truly (Sublime with Rome album)\nYours Truly is the debut studio album by American rock group Sublime with Rome, released on July 12, 2011 by Fueled by Ramen. It is the first album since the original Sublime disbanded in 1996 following lead singer and guitarist Bradley Nowell's death. According to the liner notes, the album is dedicated to him. \nIn 2009, Sublime's surviving members, Eric Wilson and Bud Gaugh, reformed the band, with Rome Ramirez filling in for Nowell. However, the group were unable to use the name Sublime for legal reasons, resulting in the name change to Sublime with Rome. After embarking on their first US tour in 2010, Sublime with Rome signed with the record label Fueled by Ramen and began recording their first full-length album. Guitarist Paul Leary of Butthole Surfers, who co-produced Sublime's eponymous final album, produced it.\nYours Truly received mixed reviews. \"Panic\" was released as the album's first single and achieved success, reaching No. 4 on Billboard's Alternative Songs and cracking the top 10 on the Rock Songs chart. \"Lovers Rock\" and \"Take It or Leave It\" were also released as singles.\nYours Truly is the only Sublime with Rome album recorded with co-founder Bud Gaugh, who left the group in December 2011.\n\nBackground and history\nSublime broke up immediately after Bradley Nowell died from a drug overdose in 1996. After the break up, Eric Wilson and Bud Gaugh resurfaced in the band Long Beach Dub Allstars, releasing two albums and then splitting up in 2002. After Long Beach Dub Allstars, Wilson went on to form Long Beach Shortbus, while Gaugh went on to form Eyes Adrift and Volcano (both of which featured Meat Puppets guitarist/vocalist Curt Kirkwood).\nIn 2009, Gaugh and Wilson reunited for a show in Nevada and called themselves Sublime. They were joined by a new singer-guitarist whose identity was not announced; on March 1, 2009, Gaugh confirmed this was then-20-year-old Northern California native Rome Ramirez, who had previously collaborated with Wilson on RAWsession where he played Sublime songs such a \"Saw Red\" and \"Boss DJ\". The trio played another show at Cypress Hill's Smokeout Festival on October 24, 2009 in San Bernardino, California. The festival also featured performances from Kottonmouth Kings, Slipknot, Deftones, Bad Brains and Pennywise. However, because the name Sublime had been trademarked by Bradley Nowell, the band decided to call themselves Sublime with Rome to curtail any legal difficulties.Work on Yours Truly began as early as 2010 and Gaugh told Billboard.com that Sublime with Rome would enter the studio in June for a week \"and nail down some of the more worked-out songs, and possibly even finish one or two of them for a late summer radio release\". The band was expected to have the album out in 2011. On February 5, 2011, Sublime With Rome announced on their official website that they were planning to enter the studio in March to begin recording their debut album, with Butthole Surfers guitarist Paul Leary producing. On February 21, 2011 (Wilson's 41st birthday), the band posted a statement on their Facebook page saying that they had begun recording the album and would be posting \"mad videos\" to \"let everyone know where to go for a behind the scenes look at the Sublime With Rome process.\" On April 14, 2011, Rome posted an update on Sublime With Rome's official website saying that the album was almost finished and expected for a summer release. During the summer 2010 tour, Sublime With Rome performed their first new song \"Panic\" on Jimmy Kimmel Live!. It was also announced that Sublime with Rome officially signed to record label Fueled By Ramen and would release their debut album Yours Truly on July 12, 2011.The band began streaming the album in its entirety via their official Facebook page on July 6, 2011.\nSublime with Rome was invited to promote Yours Truly by supporting 311 on their Universal Pulse tour, dubbed the 2011 Unity Tour. Special guests included DJ Soulman and DJ Trichrome.\n\nCritical reception\nCritical reception has been generally mixed, with the album receiving a 48 on Metacritic. The Allmusic review by Jason Lymangrover states: \"Yours Truly doesn't quite match the caliber of the albums in the Sublime discography, but it's a fairly enjoyable spin-off just the same\". Ultimate-Guitar.com praised Yours Truly as a \"solid release with tracks appealing to original fans as well as those with Rome's flair of originality.\"\n\nCommercial performance\nThe album debuted at No. 9 on Billboard 200, and No. 3 on Rock Albums, selling 35,000 copies in its first week. The album has sold 153,000 copies in the United States as of June 2015.\n\nCharts\nTrack listing\nPersonnel\nRome Ramirez – vocals, guitar\nEric Wilson – bass\nBud Gaugh – drums, percussion\nTodd Forman – Saxophone\nDJ Rocky Rock – DJ /Turntables\nAimee Allen – Additional vocals (\"Safe And Sound\")\nMaggie Walters – Additional vocals (\"You Better Listen\" and other tracks)\nPassage 7:\nKeith Morris\nKeith Morris (born September 18, 1955) is an American singer and songwriter known for his role as frontman of the hardcore punk bands Black Flag, Circle Jerks, and Off!. Born and raised in Hermosa Beach, California, he formed Black Flag at the age of 21 with guitarist Greg Ginn and performed on the band's 1979 debut EP Nervous Breakdown. Shortly after leaving Black Flag in 1979, he formed the Circle Jerks with guitarist Greg Hetson; the band released seven albums between 1980 and 1995 and have broken up and reformed on numerous occasions. In 2009 Morris formed the supergroup Off! with guitarist Dimitri Coats, bassist Steven Shane McDonald, and drummer Mario Rubalcaba. Morris has also appeared as a guest vocalist on several albums by other artists.\n\nBiography\nEarly life\nMorris was born September 18, 1955 and grew up in Hermosa Beach, California. His father, Jerry, had been a budding jazz drummer in his youth and practiced with visiting jazz groups at the Lighthouse Café. Jerry later opened a bait shop in the 1970s and struck up a friendship with jazz record producer Ozzie Cadena (both men's sons, Keith and Dez, later became singers in Black Flag). Keith attended Mira Costa High School, where brothers Greg and Raymond Ginn were also students, and graduated in 1973. He then studied fine art and painting at the Pasadena Arts Center while working at his father's bait shop. One of his co-workers at the shop was Bill Stevenson, a Mira Costa student eight years Morris' junior who would also go on to be a member of Black Flag.Morris and his friends spent their spare time hanging out by the Strand under Hermosa Beach pier, where they took drugs: \"I'd get off work, and we'd get up to trouble,\" he later recalled, \"smoking angel dust, snorting elephant tranquilizers. Just real goofy, 'why-would-you-want-to-do-that?' kinda stuff, the kind of thing you get up to when you're young, and into experimenting. If it was a good experience, then cool; if not, well, then it was just a real hard lesson learned.\" His early musical tastes included various rock acts such as Bob Seger, Foreigner, Montrose, Styx, Deep Purple, Black Sabbath, Queen, Ten Years After, Status Quo, Uriah Heep, UFO, the Scorpions, Aerosmith, Ted Nugent, and the MC5, \"any kind of fist-pumping, 'flick-your-bic' rock. I was into anything that was loud\". He became a freely opinionated and passionate fan of heavy rock and protopunk, and took a job working at local record store Rubicon Records.\n\nBlack Flag\nIn 1976, Morris co-founded Black Flag (then-known as Panic) along with guitarist Greg Ginn. Their work ethic proved too challenging for some early members; Ginn and  Morris had an especially hard time finding a reliable bass guitarist, and often rehearsed without a bassist, a factor that contributed to the development of Ginn's distinctive, often low-pitched guitar sound. The band went through three bass players before Chuck Dukowski joined and then Robo answered a Pennysaver ad and became their drummer.After a number of line-up changes, Morris recorded vocals for the first Black Flag EP Nervous Breakdown. After two years in the band, Morris left the band citing, among other reasons, creative differences with Ginn, and his own \"freaking out on cocaine and speed.\"\n\nCircle Jerks\nAfter leaving Black Flag in 1979, Morris founded the Circle Jerks, along with former Redd Kross guitarist Greg Hetson. Cited as one of the most important hardcore punk groups, the Circle Jerks were active until 1990, when Hetson left the band to continue playing guitar and release a number of albums with Bad Religion. The Circle Jerks reunited in 1994 and released their last studio album to date in 1995. The group performed on and off until 2011, when they went back on hiatus. In November 2019, plans were announced for a 2020 reunion tour in support of the 40th anniversary of their 1980 album, Group Sex, however the tour was postponed until September 2021 due to the COVID-19 pandemic. In April 2022, six of the dates on their 40th anniversary tour were postponed due to Morris testing positive for the COVID-19 virus.\n\nOff!\nAs of 2010, Morris has been performing and touring with his latest project Off!, which he founded with Dimitri Coats from Burning Brides, Steven Shane McDonald from Redd Kross, and Mario Rubalcaba from Earthless/Rocket From The Crypt/Hot Snakes.Morris stated in a March 2011 interview that Off! was asked to open future dates for the Red Hot Chili Peppers and they said they would even though it might anger some of their younger punk fans. Ultimately, Off! ended up not touring with Red Hot Chili Peppers. Morris has known the band for over 30 years and the Circle Jerks had performed shows with the Chili Peppers in the 80s. The Chili Peppers had also covered Black Flag and the Circle Jerks during their shows. Chili Peppers singer, Anthony Kiedis, wore an Off! hat at every show on the band's entire I'm with You World Tour including some of their music videos. Morris even filled in for Kiedis during one of the Chili Peppers' shows in 1984. When Kiedis, who was off scoring drugs, failed to show up for the performance, the band asked Morris to fill in on vocals. Morris, who didn't know any of the lyrics, yelled and made up lyrics to the band's songs to get through the performance. In the Chili Peppers' \"An Oral/Visual History\" book, bassist Flea said \"We got an opening slot at the Olympic Auditorium. But Anthony in all his junkie splendor did not show up. Keith Morris from the Circle Jerks said 'I'll sing' and so we went out with him. We were just playing the songs and he would yell out stuff - whatever he could.\"As of 2014, the group has released three studio albums. In July 2021, Off! released their first new song in seven years, a cover of Metallica's “Holier than Thou.” The song is on The Metallica Blacklist covers album that was released on September 10, 2021. Off! also announced that they are working on a new album and a sci-fi feature film.\n\nFLAG\nIn 2013, Keith Morris, Chuck Dukowski, Dez Cadena, Bill Stevenson and Descendents member Stephen Egerton, created FLAG as an offshoot of Black Flag. As of now, they are only touring. No plans for an album have been announced.\n\nOther works\nAfter the Circle Jerks' first break-up in 1990, Morris led the bands Bug Lamp and Midget Handjob. He also provided backing vocals on \"Operation Rescue\", from Bad Religion's album Against the Grain (1990).\nMorris also narrated Chris Fuller's 2007 Gotham Award-nominated independent film Loren Cass.\nMorris appeared as the DJ for the West Coast Punk Rock station Channel X in the video game Grand Theft Auto V released on September 17, 2013\nIn 2016, Morris released an autobiography called My Damage: The Story of a Punk Rock Survivor.\n\nPersonal life\nIn 1999, Morris was diagnosed with adult onset diabetes. He has also been sober since the 1980s.On April 13, 2022, it was revealed on the Circle Jerks' Facebook page that Morris had contracted and was recovering from COVID-19.\n\nDiscography\nWith Black Flag\nNervous Breakdown (1979)\nTracks 1-9 Everything Went Black (1982)\n\nWith Circle Jerks\nGroup Sex (1980)\nWild in the Streets (1982)\nGolden Shower of Hits (1983)\nWonderful (1985)\nVI (1987)\nGig (1992)\nOddities, Abnormalities and Curiosities (1995)\n\nWith Bug Lamp\n\"Howling at the Moon (Sha-La-La)\" on Gabba Gabba Hey: A Tribute to the Ramones (1991)\n\"El Dorado\" on Roadside Prophets soundtrack (1992)\n\"The Ballad of Dwight Fry\" on Welcome to Our Nightmare: A Tribute to Alice Cooper (1993)\n\nWith Midget Handjob\nMidnight Snack Break at the Poodle Factory (2000)\n\nWith Off!\n1st EP (2010)\nFirst Four EPs (2010)\n\"Compared to What\" (2011)\nLive at Generation Records (2011)\nSugar Daddy Live Split Series Vol. 3 (split with the Taylor's) (2012)\nOff! (2012)\nThe Music of Grand Theft Auto V (\"What's Next) (2013)\nLive at 9:30 Club (2013)\nWasted Years (2014)\n\"Learn to Obey\" (2014)\nLive From the BBC (2015)\nThe Metallica Blacklist  (\"Holier than Thou\") (2021)\nFree LSD (2022)\n\nGuest appearances\nPassage 8:\nRome Ramirez\nRoman René Ramírez (born June 11, 1988), better known as Rome Ramirez or simply Rome, is an American singer and guitarist best known for playing with Eric Wilson from Sublime in the band Sublime with Rome.\n\nEarly life\nRamirez was born and raised in Fremont, California. Both of his parents are of Mexican heritage, his mother being from Guadalajara and his father's parents from Tijuana, but his father relocated the family to Oakland. He first started playing guitar at age 11, and one of the first songs he learned was a Sublime song.\nAt 18, Ramirez headed to Los Angeles to focus full-time on music. There, he was introduced to one of his idols, Eric Wilson, bassist for Sublime. They became friends and started jamming together at Eric's infamous holiday parties in Long Beach. Within the year, the plan to bring back Sublime had been set into motion.\n\nSublime With Rome\nIn 2008, Rome collaborated with Eric Wilson on a RAWsession video (also at 17th Street Recording Studio) where he played Sublime songs such as \"Saw Red\" and \"Boss DJ\", and eventually began to play with the band's two surviving members, Eric and Bud Gaugh.\nThe trio then went on tour together playing covers of original Sublime material. Sublime with Rome made its debut in 2009 at Cypress Hill's Smoke Out Festival in San Bernardino, California. Ramirez was soon touring steadily with Sublime with Rome, and the trio released their debut album Yours Truly on July 12, 2011. Shortly after, Gaugh left the band and Josh Freese stepped in to play drums. In 2015, they released another album, Sirens. Freese left in 2017 to tour with Sting, and Carlos Verdugo of Tribal Seeds joined the band. They then released a new album in 2019 with producer Rob Cavallo.\n\nSongwriting and Producing\nRome co-wrote the song \"Lay Me Down\" with The Dirty Heads and has collaborated with the band on several albums including Sounds of Change, Dirty Heads, Dessert EP and Swim Team.\nRome also worked extensively with Enrique Iglesias on his 10th studio album.\nRome has said in interviews that his influences are Sublime, Muse, Jimi Hendrix, Bad Brains, Nirvana, Led Zeppelin, Public Enemy, The Beastie Boys and Primus.Rome's promotional solo single, \"Dedication,\" was premiered on the Rolling Stone website May 30, 2012.  \"The song's about loving someone who is struggling with getting their life together and eventually having to move on,\" says Rome. \"It's probably some of the most personal stuff I've put in a song.  Sometimes all you need is the right people to pull the best out of you, and that's what I feel happened with the three of us. The right individuals, at the right place and time.\" His debut solo EP was released on June 12, 2012.In March 2015, Ramirez appeared on Blues Traveler's album Blow Up the Moon, co writing the song \"Castaway\" and \"Vagabond Blues\" with Dirty Heads.\nPassage 9:\nCircle Jerks\nCircle Jerks (stylized as Ciʀcle JƎʀᴋs) are an American hardcore punk band, formed in 1979 in Los Angeles, California. The group was founded by former Black Flag vocalist Keith Morris and Redd Kross guitarist Greg Hetson. To date, Circle Jerks have released six studio albums, one compilation, a live album and a live DVD. Their debut album, Group Sex (1980), is considered a landmark of the hardcore genre.\nThe band has broken up and re-formed several times, sometimes with different bassists and/or drummers. They disbanded for the first time after the release of their fifth album VI (1987), allowing Hetson to focus on Bad Religion (which he joined in 1984 and stayed with until 2013) full-time. The Circle Jerks first reunited in 1994 and released their sixth and last studio album to date, Oddities, Abnormalities and Curiosities, the following year before separating for the second time. The band reunited for the second time in 2001 and spent the next ten years performing live periodically; this reunion released only one new song, \"I'm Gonna Live\", which was posted on their MySpace profile in 2007. Tensions among members and failed attempts to record the follow-up to Oddities, Abnormalities and Curiosities resulted in the Circle Jerks breaking up yet again in 2011. However, the band announced in November 2019 that they would reunite in 2020 to celebrate the 40th anniversary of Group Sex with live shows.Many groups and artists have cited Circle Jerks as an influence, including Red Hot Chili Peppers, Pearl Jam, Anti-Flag, Dropkick Murphys, the Offspring, NOFX, and Pennywise.\n\nHistory\nEarly days and increasing popularity (1979–1982)\nLead vocalist Keith Morris was an original member of Black Flag, co-founding the band with guitarist Greg Ginn and recording the Nervous Breakdown EP with them before suddenly departing the group in December 1979. Morris formed Circle Jerks as the Bedwetters along with guitarist Greg Hetson, bassist Roger Rogerson (a classically-trained guitarist) and drummer Lucky Lehrer (a jazz-trained drummer). Lehrer did not like the name the Bedwetters, so Morris looked through a dictionary of slang words and renamed the band the Circle Jerks.The band's first recordings took place in spring 1980, including the original version of \"Wild in the Streets\", which appeared on Posh Boy's first Rodney on the ROQ compilation. In July of that year, the band recorded their debut studio album, Group Sex, which was released in October 1980 on the Frontier Records label; its 14 songs totaled just 15 minutes. The album featured several songs that Morris had written while in Black Flag. That same year, the group was one of several California punk bands to be immortalized in the Penelope Spheeris documentary The Decline of Western Civilization; live versions of five songs from Group Sex appeared on the movie's soundtrack.\nIn late 1980, the group signed with IRS Records subsidiary Faulty Products and recorded their second album, Wild in the Streets, released in 1982. The title track was a cover version of a song by Garland Jeffreys. Faulty Products ceased operations several months after its release, forcing Circle Jerks to seek their third record deal in as many years. While they regained the copyright to Wild in the Streets, the original stereo master tape was lost, forcing the band to remix it from the multi-track tapes when they reissued the album in 1988.\n\nLater years (1983–1989)\nThey signed a management deal with War producer/manager Jerry Goldstein's Far Out Productions, and recorded their third album, Golden Shower of Hits, in 1983. The album was released on Goldstein's LAX Records label. The title track was a medley of six cover versions (of artists as diverse and unexpected as the Association, the Carpenters and Tammy Wynette) strung together to create a storyline of two people who fall in love, have an unplanned pregnancy, rush into marriage and end up divorced. Another song from the album, \"Coup d'État\", was used in the soundtrack of Alex Cox's 1984 film Repo Man, which the band appeared in, playing an acoustic lounge version of \"When the Shit Hits the Fan\", featuring new members Chuck Biscuits (formerly of Black Flag and D.O.A.) on drums and Earl Liberty (formerly of Saccharine Trust) on bass. Just prior to joining Circle Jerks at the suggestion of Biscuits, Liberty worked 10 weeks as a roadie for the Misfits as he became increasingly disillusioned with Saccharine Trust's lack of interest in developing new material, recalling in a 1983 interview that his former bandmates \"were just getting too lazy.\"Biscuits and Liberty were eventually replaced by Keith Clark and Zander Schloss (who also appeared in Repo Man), respectively. The band also changed labels for the fourth time, signing a deal with Relativity Records' metal imprint Combat Records, which had started a punk sub-label, Combat Core. The newly revamped group recorded Wonderful, released in 1985. Their newfound stability allowed the lineup to record a second album for Relativity, VI, issued in 1987. One track from VI, \"Love Kills\", had been commissioned by Cox for the soundtrack of the 1986 movie Sid and Nancy, and was heard in the film.\nChris Poland played bass with Circle Jerks briefly circa 1989 after being fired as guitarist for Megadeth (Schloss had left the band by that point).\n\nHiatus (1990–1993)\nCircle Jerks dissolved in 1990 after Hetson left the band to continue recording with Bad Religion. Live recordings made during what would be their final tour at the time were immortalized in the live album Gig in 1992, their third and last release for Relativity.\nDuring the hiatus, Hetson would continue playing in Bad Religion; Schloss played guitar and bass with various acts; Clark initially retired from music; Morris worked menial jobs and battled health problems (he had kicked a longtime dependence on drugs and alcohol in 1988).\n\nReunions and hiatuses (1994–2011)\nA long period of inactivity for Circle Jerks ended in 1994, when the Wonderful-era lineup reunited and signed a major label deal with Mercury Records, a move that had a few business complications: Hetson was still with Bad Religion, who had signed a long-term contract with Atlantic Records, while Schloss had been part of a band contracted to Interscope Records. After ironing out these difficulties, the band recorded their final studio album to date, Oddities, Abnormalities and Curiosities, released June 20, 1995. One track on the album, a cover of the Soft Boys' \"I Wanna Destroy You\", featured backing vocals from pop singer/songwriter Deborah Gibson, who had just finished a solo album with the same producer that Circle Jerks were using. Gibson later made a surprise appearance at Circle Jerks' performance at punk mecca CBGB to perform \"I Wanna Destroy You\" with the band. Despite such media attention, the group suddenly imploded three weeks into a tour behind the album. The breakup would not be totally permanent, with the Jerks playing sporadically throughout the late 1990s, but Clark left music for good afterward. Original bassist Rogerson died in 1996 of a drug overdose. He was 41 years old.\nFurther Circle Jerks activity was suddenly held up when Morris announced that he had been diagnosed with adult onset diabetes in 1999. A multitude of punk bands held benefits on his behalf.\nThe core of Morris, Hetson and Schloss, with drummer Kevin Fitzgerald, continued to tour until 2011, in between other commitments — Hetson was still a full-time member of Bad Religion, Schloss played bass for the reformed first-generation LA punk band the Weirdos, and Morris was an A&R director for V2 Records until the label was suddenly shuttered by its owners in 2007.\nIn 2004, the Circle Jerks shot a live concert DVD as part of Kung-Fu Records' live DVD series The Show Must Go Off!, in which the band played songs from all six of their studio albums, plus – in nods to Schloss' other current band and Morris' first band, respectively – covers of the Weirdos' \"Solitary Confinement\" and Black Flag's \"Nervous Breakdown\". In 2005, Hetson formed another band, Black President.\nFor several years, a rumored Circle Jerks album featuring new material was said to be imminent, although no further formal announcement was made. In late February 2007, the band released their first new song since 1995 on their Myspace page, titled \"I'm Gonna Live\", adding more anticipation to the possibility of a new album emerging. However, in an April 2008 interview, guitarist Hetson admitted that Circle Jerks would not release any new studio material, saying that he does not know what will happen in the future, \"but in the near future, no Circle Jerks stuff will come out\".Circle Jerks were featured on a television commercial for XM Satellite Radio (they were the first band played in the commercial, which included \"Operation\" from the album Group Sex), and the band also posted a cover of  Germs song \"The Slave\" on their Myspace page.\nThe Circle Jerks played their final show for nearly a decade at the Bluebird Theater in Denver on January 27, 2011.From 2011 to 2019, the Circle Jerks were on hiatus due to a dispute between Morris and the rest of the band. The conflict was over songs that were written by Morris and Dimitri Coats. Coats (from Burning Brides), who was supposed to produce a new Circle Jerks album, decided that the songs Hetson had written were not up to par with Circle Jerks' catalog. Morris agreed, and both he and Coats wrote multiple songs intended for the new album. The other members of Circle Jerks believed Coats to be \"arrogant, overbearing, egotistical\" and called for him to be fired from producing the new record. Morris disagreed, and he and Coats recruited Steven Shane McDonald (from Redd Kross) and Mario Rubalcaba (Rocket from the Crypt, Hot Snakes, 411, Clikatat Ikatowi, Earthless) to start a new band called Off!.\n\nGroup Sex anniversary shows (2019–present)\nOn November 22, 2019, the Circle Jerks announced that they were going to reunite in 2020 for a number of shows to celebrate the 40th anniversary of their debut album Group Sex, including that year's Punk Rock Bowling. However, the COVID-19 pandemic caused performances to be postponed until 2021. Three-fourths of the final lineup — Keith Morris, guitarist Greg Hetson, bassist Zander Schloss — were involved in the reunion.\nOn July 15, 2021 it was announced that former Queens of the Stone Age and Danzig drummer Joey Castillo would be joining the band on drums.In April 2022, six dates on the anniversary tour were postponed after Morris tested positive for the COVID-19 virus.\n\nBand members\nCurrent members\nKeith Morris – vocals (1979–1990, 1994–1995, 2001–2011, 2019–present)\nGreg Hetson – guitars (1979–1990, 1994–1995, 2001–2011, 2019–present)\nZander Schloss – bass (1984–1988, 1989-1990, 1994–1995, 2001–2011, 2019–present)\nJoey Castillo – drums (2021–present)\n\nDiscography\nStudio albums\n\nGroup Sex (1980)\nWild in the Streets (1982)\nGolden Shower of Hits (1983)\nWonderful (1985)\nVI (1987)\nOddities, Abnormalities and Curiosities (1995)",
  "char_len": 59097,
  "document_hash": "6394ba683c9a7ac08ab9d49afa99f76f2d7e1abcd94985a5a6924f33c865b8d4",
  "questions": [
    {
      "question_id": "q00",
      "qtype": "hotpotqa",
      "question": "Which person is known for playing in punk bands, Keith Morris or Rome Ramirez?"
    }
  ]
}