Newsgroups: bit.listserv.allmusic
Date:         Wed, 2 Sep 1992 08:24:00 CDT
From:         schneider@MDCGWY.MDC.COM
Subject:      News and Views by the GOOD ROTCOD
X-To:         allmusic <allmusic@american.edu>

From:	NAME: Henry E. Schneider
	FUNC: J745
	TEL: (713) 280-1775                   <SCHNEIDER.HENRY@A1@SSDHOU>
To:	WINS%"<ALLMUSIC@AMERICAN.EDU>"@MDCGWY@MRGATE


There has been a modicum of traffic latley about Rotcod Zzaj.  The
following is an interview that lets you get to know him much better.  Read
on, post your thoughts, and contact RZ to hear his music.  It is a journey
well worth taking.




8/27/92

News & Views from the Good Rotcod

An interview conducted via mail by Henry Schneider

Dick Metcalf (aka Rotcod Zzaj) is quite a character in the
independent music scene.  Dick releases several cassettes
each year, writes music reviews, and now publishes a
fanzine Improvijazzation Nation.  If you are at all
interested in independent music , you are sure to have
encountered Dick in one these incarnations.  Dick is an
energetic man and is enjoying his retirement from the
army.  I conducted the following interview with Dick
through the mail in May 1992.
Name:  Dick Metcalf
Age:  45, going on 25
Marital Status:  Just like Duane Allman, "a happily
married man"!
Children:  1 five year old (Andy), and 1 twenty-two year
old (Arthur)
Residence:  Taegu, Korea
Education:  2 years associate in business, over 30 years of
"world" university
Henry Schneider:  What is your background, musical and
otherwise?
Rotcod Zzaj:  That is fodder for a novslla, I suppose, but I
just haven't the time and energy.  I had a strict church
boyhood, mostly in Pennsylvania, where my father was a
fundamentalist preacher.  I had some unpleasant family
experiences, but we had one strong focal point, music.  We
all sang and played together, until I brought home a 45
rpm of the Shirelles (or somebody) doing He's So Fine.  I
used to rock around the upstairs bedroom, vamping and
dancing.  When the old man got home one night and
heard it, he gave me the four hour lecture about "Devil's
Music".  It took another 25 years, but now he'll listen to
some of my mellower stuff.  The neatest thing about
growing up in that environment, I suppose, was that I
always had a good organ to ram about on.  Despite my
groaning about it when I was 15 or 17, I have good solid
roots to fall back on.  Even if we had our disagreements (of
which we had plenty), we could still have a sense of
belonging, values, and all the rest of that!
HS:  Why do you choose to live in Korea?
RZ:  The reason is mostly economic.  Oh, I know some
folks might say it's just because my wife is Korean (and
often they do just want to stay here).  Still,  Kim and I are
pretty much in agreement that we'll hit the road when
Korea is no longer economical.  There are other
considerations though.  Korea is a wonderful place to raise
kids.  Korea has the same strong family values as my
upbringing.  Even as whacked out as I like to get in my
music (which is sometimes pretty far-fetched), I think that
is really important.  My job is a sort of one of a kind thing,
a small technical customer support cell for Army
computer users.  The bosses and all the hassle that being
under the flagpole can cause, are over 1an cause, are over 13,000 miles
away.
If we satisfy our customers, I can do what I want to do in
my off time and not worry about personal judgements!
We'll probably be here until September 1993 or maybe
even 1995.  The only real drawback to that is not
performing live, which is something I really  enjoy!  The
positive side about the music, though, is that I have
plenty of time to work my style and licks out in the studio.
HS:  Obviously Rotcod Zzaj is "Jazz Doctor" or "Doctor
Jazz", depending on how you hold your mouth, but how
and why did you choose this name?
RZ:  Back in 1980 when I was still in the Army, my team
had a whole lot of black guys and gals in it.  A couple of
them heard me playing blues riffs and then saw me
walking around with a boom-box playing weird jazz.
They started calling me Doctor Jazz, which stuck like glue.
Before my Korean tour in 1980, my performance work was
pretty much oriented to "primal scream" poetry.  Mostly
done with the wide open artists community in Olympia,
Washington at a little caf called the Gnu Deli.  In other
words, I hardly played music in public during those
sessions and shows.  I had gotten out of an alcohol
treatment program about 4 years earlier that used primal
scream as it's base therapy, another whole story.  I got to
practice my keyboards a whole lot during that first Korean
tour, and started to loosen up a bit.  I had always been real
shy about playing keyboards in public before.  During the
shows with the Transmuseq folks in Birmingham,
Alabama (Davey Williams, LaDonna Smith, Wally
Shoup, et al.), the improvisations often turned into
pseudo-jazz riff stuff.  Since those improvisations and
poetry mixes sounded sort of like back masking of old
Blue Note sessions, it just seemed natural that my
nickname should be turned around too.
HS:  When and how did Rotcod Zzaj and Zzaj
Productions start?  How have your projects progressed
through the years?
RZ:  My last trip to Korea started in August 1986.  When
Kim and I came back here, we were dead broke.  I had to
sell most of  my keyboards.  We lacked a stereo and had
not much else (rotten divorce, another story way too long
to tell here).  After about 2 years of Kim's scrimping,
saving, wheeling, and dealing, we were back at the point
where I could buy some stereo equipment.  Kim is an
amazing woman, both young and beautiful (everyman's
dream).  I started going through my old Olympia and
Birmingham performance tapes and made the first two
Zzaj tapes right from the masters:  Sdrawkcab Zzaj and
Inherited Anorexia.
After retiring from the army in early 1988, I finally saved
enough money for an el cheapo Yamaha keyboard and a
TASCAM Porta-05.  My first couple of tapes were solos.
When I started to get back in to the networking thing, I got
to do a tape (I think my first mail collaboration) with
DimThingShine.  He played drums and I laid some pretty
cheezy keyboards and rant stuff over the top.  Encouraged
by that tape, my contacts increased and so did my
collaborative things.
I've really enjoyed enthusiastic support from folks I've
known over the years.  I've been fortunate since starting
these regular collaborations to get to play with some red
hot folks.  I met Bret Hart while he was here in Korea (in
the Navy).  We did a couple of things together, one by
mail and the other in my studio.  Then John M. Bennett,
Mark Kissinger, Robert Winson and many others
followed.  These days my studio has a couple more
Yamaha boards, several Korean percussion instruments, a
Kawai K1 synthesizer, and a mid-range ART effects box.
HS:  Do you have any CD, vinyl, or video plans?
RZ:  I really never can tell what I've got in mind as far as
the medium goes.  Being here in Korea limits me in some
ways.  Lately I've become very interested in multi-media
PCs, so there may be something in the way of video.  CD is
a format that I have very little use for, since it's read-only.
My favorite way to get sounds out is, of course, the
cassette.  God forbid we ever let the big companies
convince us we don't need the cassette.  Of course, I'll do
whatever comes along, except CDs.  I've a pretty strong
feeling that the big guys would just love for everyone to
jump on that bandwagon.
HS:  How successful is the distribution and sales of your
tapes?  Does anyone else distribute your tapes?
RZ:  I have very limited sales, but distribution of my tapes
is far-flung.  I'll occasionally get a tape order, but more
often than not, folks just want to trade.  I've no real
problem with that, though it is good to get an order now
and then for cash, especially from my wife's point of view.
I will only trade my solo tapes.  Since so many folks want
to trade (no cash, of course), the sales of my collaboration
efforts are at an all-time low.  I'd like to see a few more
cash orders coming in for the collaboration efforts, though
I won't lose any sleep if that doesn't happen.
I've purposely tried to avoid having someone else
distribute tapes.  It seems like it could lead to increased
stress, expense, and time.  As you can see from my current
catalog, I just don't have time for making Zzaj
Productions a big business!  Not that I'd want to make it
that way anyway.  No, I doubt I'll get too much involved
in heavy distribution through another entity.  The only
one that looks somewhat safe to me at all is Don
Campau's U. S. branch of KFR.  I use Don just to get the
sounds spread out among more folks.
HS:  Does your music receive radio air play?  Is air play
important to you?  If so, which radio stations do you
recommend?
RZ:  I've had several tunes aired on Don Campau's radio
show, which is super neat.  Another couple of possible
plays on a soul station in Washington D.C., but that's
about it.  There is a pirate station somewhere in Oregon or
Washington that's supposed to broadcast a whole 60
minute show of mine in the next couple months or so.
Maybe some on Bryan Baker's new show, but I'm not sure.
Air play isn't terribly important to me from the
standpoint of name-recognition, but I do like the idea of
lots more folk getting exposure to my ideas, both
musically and personal.  I've already gotten a couple of
inquiries that I'm pretty sure were a direct result of folks
having heard my tunes, and that is nice.  Who and what
show would I recommend?  Most assuredly, Don
Campau's show on KKUP, called "No Pigeonholes".  He's
just a super guy.  When I send him a couple of bucks, he
always sends me back a tape copy of the show my tunes
were on.  He has a great show, and you can trust him to
play what you send.  When I first started taping a lot of
collaborations, I got real excited about sending each new
release out to at least 3 or 4 radio stations.  Don is the only
one who ever responded back personally!  I don't think
it's a good idea to get too rabid about getting air play, but it
is nice when it happens.  It's more important to keep the
network moving on.  If everyone listened (radio or home)
to only self-generated tapes, how much of a market would
there be for commercial garbage?
HS:  Who designs the labels and covers for your tapes?
RZ:  Whoever has the most inspiration.  That may seem a
little weird, but it turns out to be true.  When I first started
putting these tapes out, I had a hard time making the J-
cards.  Not that I didn't have some good ideas.  The ideas
are there, but I'm not much when it comes to arts and
crafts.  Stan Berryman and Mark Kissinger, who did the J-
cards for all but one of our collaborations, make the best
covers (I think) for my tapes.  The labels are another story.
I still need some help there.  I've got a neat rubber stamp
that Clarke A. Sany (Church of the $.39 Hamburger) did
for me, but it's too big to use for good labels.  I'll take any
help and suggestions I can get on that.  I'd like to get a
trademark label, most likely made with a rubber stamp
that was easy to work with.  We'll see, I guess.
HS:  You have many solo releases and collaborations.
How do you work your collaborations?  Are they done
through the mail, or do you meet and jam?
RZ:  The collaborations are pretty much done by mail,
except the occasional trip back to the states.  For instance,
10 Years After (Trillium Less One) and the 2 Rogue Sea
Merchants tapes are from a trip back to the states, done
live in Olympia, Washington.  Live is much better for me.
Since I only get back to the States occasionally, most of my
tapes are collaborations through the mail.
Mail efforts, of course, limit the degree of reaction
between artists.  As I always like to point out, I've been
lucky to have worked with some of the hottest folk
around in home-taping today.  Usually any delays (my
longest collaboration effort took about 3 months) are due
to my inexperience with the mixing controls and EQ on
my 4-track.  I'm getting better at that (I hope), so the tapes
sound better at end-run.  Someone will get inspired, lay
down some tunes to a 4-track, and mix them down to
stereo.  He then mails them to the other person who lays
their tracks down.  The final mix is up for grabs.
Whoever's sounds better.  On my latest collaborations
with Harlan Mark Vale, for instance, I did what I thought
was the final mix.  I then sent them off to Mark for
approval and he wound up remixing the whole tape.  It
turns out he was right on the money!  His mix made it
sound much better than my original.  I'm not a
perfectionist, I think spontaneity is best.  Yet, the mix is
important.  I don't think home-tapers should take a year
to deliberate and tweak their music.  On the other hand,
I've reviewed tapes with really good music that I slammed
because the musicians had taken no time to consider the
final product.  Especially if their goal is for someone to
listen to their tapes.
One thing I'll say, for sure, the collaborative process is
more inspiring for me than solo studio work.
HS:  How did you meet Bret Hart?
RZ:  You know, that is an interesting story.  Bret had
already been here in Korea for about a year or so (of a two
or three year tour), when I saw a classified ad in Sound
Choice.  Of course, I recognized the APO number right
away and tracked him down in a couple of days.  We hit it
off right away.  My wife and I went up where he was, met
his wife and dog, and got into the collaboration stuff pretty
much in just a month or so.  We had many different
ideas, both musically and personally.  Despite different
speeds on our 4 tracks, we still managed to get two
collaborations out in a matter of a couple of months.  I
really enjoyed Bret's skills and his fresh approach to
improvisation!  It's really too bad (in my mind, anyway)
that we didn't hook up about a year earlup about a year earlier.  He's a
great
player and a great person!
HS:  What is your philosophical approach to music?
RZ:  Yow! This question makes me want to look up
something in a reference book.  I went through all the
phases of the 60s with the rest of my generation.  Having a
strict fundamentalist upbringing (no room for change), it
was very easy for me to reject all things conventional.  I
went through all the personal challenges involved with
substances and creativity.  You know, sitting on the banks
of the Rhine (ed.:  Main) River in Frankfurt, Germany,
chewing hash, and reading Carl Jung.  I then made up my
mind (with help from my friends in the Gnu Deli and
Transmuseq) that if I were going to be truly creative, I had
to be me.  Not what someone else played, wrote, or
approved.  I guess many consider my music and art to be
pretty strange.  I wouldn't have it any other way.  One of
my poems says that best for me:
Those who would have me
Differently
Than my reality, is
Really different
To me!
I still get my rocks off on any music that is personal,
expressive, and wraps me up in it's spell:  jazz, rock,
country, or improvisation.  Mass produced music
designed to hit a commercial target - you know, sales
strategy - belongs on the garbage heap, from where it
came!
HS:  What musical instruments and other equipment do
you use when recording or performing?  What does your
home studio look like?
RZ:  My studio contains mostly keyboards, synthesizers,
and percussion instruments.  When I first started my
home taped efforts, I was leaning pretty heavily on the
presets on my Yamaha, but found that it was pretty
cruddy.  So, most of my collaborations use live percussion
(particularly stuff with H. Mark Vale and Mark Kissinger)
done at their end.  My favorite new addition, of course, is
the old used Kawai K1.  I think the K1, or something
similar, is a good synthesizer to start with.  I wouldn't
mind having a Roland D-50 or D-70 in the next couple of
years.  I sometimes make heavy use of my effects box, but I
don't think I'm really in to sequencing or arranging.  It's
pretty much what comes out of the recording sessions.  I
usually stick with only 4 or 5 tracks.  What does my studio
look like?  Sort of like a cross betwixt a dining room and a
real recording studio.  We just moved into a decent sized
house (houses over here cost beaucoups of money), and I
made out like a bandito!
HS:  Do you perform live?   If so, what types of venues do
you play?  Do you have an audience in Korea?
RZ:  There is not very much live work in Korea.  I did
most of my performance work in Olympia, Washington
and Birmingham, Alabama, during the early to mid 80s.  I
am trying to set up at trip for sometime during December
1992 to January 1993.  It probably will be a big ram-jam
somewhere in the Olympia area.  Playing live again will
be a real kick for me!  If it all comes together, I prefer the
smoky little back-room jazz joint type of atmosphere.  A
New Age coffee-house would do, if you can understand
what I mean.  The best place I've ever played live was a
little south side bar in Birmingham, then called The
Cavern.  The place was mostly a punk hangout, but it had
a raised stage and a great funky atmosphere.  Davey
Williams, LaDonna Smith, Wally Shoup, myself, and
about 20 to 25 others tore the place up!  We did
improvisation reading, keyboards, and had just a whole
lot of fun!
The Korean audience is not receptive to my style of
improvisation.  Koreans tend to think along very
traditional lines when it comes to music, very form
oriented.  I've had some Korean students at the house
who say that my music scares them.  Probably because it's
totally non-traditional!  I have had an opportunity to play
and sing many Korean songs, and that is always fun,
because everyone joins in.  We even had a traditional
drummer come over one night and to play drums against
my keyboard.  Unfortunately, he wouldn't let it go on tape
because it wasn't "regular" and he wouldn't want anyone
to know he was playing music like that.
HS:  What is the music scene like in Korea?
RZ:  People here are not afraid to express themselves, but
again, it's always within bounds.  Where I grew up, it was
almost impossible to get anyone to stand up and sing out.
Over here all it takes is a couple of beers or a glass of
sojou, and anyone will stand up and sing with the best of
them.  The Koreans have a TV show that goes from town
to town each Sunday and puts on amateurs.  There are no
qualifications.  The understanding is that anybody can try,
but they've all got the same chance at getting the gong!
No kidding, if the judges think the person is just beyond
repair, they hit the gong and you're gone!  Everyone takes
it in pretty good humor, and surprisingly enough, lots of
folks make it to the end.  This TV show is the feed for an
annual "best of the amateurs" night, with real potential
for recording contracts.
The best group I've seen over here is a group called SA-
MUL-NORI.  They play mostly percussion and a flute or
two.  These guys play traditional percussion pieces with all
different kinds of instruments (Chongoo, Buk, and Chin)
and are really impressive.  At their concert, they were
selling an album, Red Sun, they'd made with a German
jazz group (whose name I can't remember).  At any rate,
SA-MUL-NORI kicked!!!
I've listened to some neat pieces that Henry Kaiser did
with Sang Won Park on Kay-a-gum, and I really liked
those.  Oriental music is very interesting to me, especially
the Bhuddist variety.  Bhuddist music, based on
complicated extended patterns, sounds improvised in
many spots, very energetic music!
HS:  What is your opinion about the news media, music
reviews, and interviews?
RZ:  If you mean the regular news media (newspapers,
commercial radio and TV), I've got no use for it.  The last
ten years make it seem to me that Orwell's 1984 is alive
and well!  I'm not a conspiracy enthusiast, but if I were,
the daily reporting would have me screaming about
twisted and slanted reporting, political interest control
groups, etc.
On the other digit, the underground press is usually a free
assemblage of free minds.  Sure there is some
commercialism involved in it, but nothing like there is in
the mass media.  The editors who gain the most respect
from me are the ones who aren't afraid to say what they
think.  Even if I don't agree with everything they say.
They use their publications to promote strong networking
and a healthy variety of interesting things to look at.
Music reviews and interviews can be a drag.  They do
show that there are folks who play music, write poetry,
and think for themselves without the "guidance"
furnished by Good Morning, America and others.
Though I'm more traditional than I sometimes like to
admit, I don't believe anyone has the right to inform me
of my choices.
The major complaint I have about the underground press
is the lack of speed.  One change I was glad to see recently
is Bryan Baker's announcement that he's going eo a
shorter time-span for Gajoob.  If he can keep to his
guidelines, that can only do good for the networks.  The
major reason I started doing Improvijazzation Nation is
that I wanted people to know that even artists can be on
time!
HS:  What are the differences between the independent
music scene and commercial music?
RZ:  As far as I'm concerned, the differences are the
musicians in the two scenes.  All it is, in my mind
anyway, is a matter of choice.  I hear folks bitching
(commercials and independents alike) that they have to
keep playing these rotten gigs to stay alive.  Well, if you
don't like all those rotten gigs (and there are a few that are
totally rotten), stop playing them and get another job!  I
would hope that most independent musicians are just
that, Independent!  Only playing what comes to them and
doing the best they can.  To me, commercial is playing
what someone else wants to hear (something I'm
absolutely no good at).  Being independent is playing what
I enjoy.  If someone else happens to enjoy it, then so
much the better.  I'm really glad.  I'm not going to stop
doing what I'm doing just because it doesn't fit someone
else's interpretation of what good is!
HS:  What is your opinion of why fanzines such as Sound
Choice, Factsheet Five and Electronic Cottage have gone
through so many changes recently?
RZ:  I've a feeling that the fanzines are sort of like
computers these days.  There is continuous development
with new and better products and ideas coming out.  I
don't think I'd trust a fanzine that had been here for 20
years to keep a fresh perspective, new flow of ideas, and
freedom from sludge.  I believe the fanzines should
change hands occasionally, just to keep the blood moving.
I think that has something to do with all the changes
we've seen in those fanzines lately.  I guess that a one and
two man operation like Sound Choice or Gajoob is just
too much for the volume of independent material
produced today.  I believe what we need is more quality
fanzines, maybe electronic.
HS:  Tell me about Improvijazzation Nation.  Why did
you start it?  When did you publish the first issue?  How
many subscribers do you have?  How wide is your
distribution (what countries)?  What are your plans for it?
What does the future hold?
RZ:  I started Improvijazzation Nation last year (1991),
because I got upset over delays in the mail out of a couple
of the regular fanzines.  I called into question my old
fashioned outlook of you ought to get what you pay for.
The fanzine publication schedules were going about 3
months past the due dates.
I was working on a new draft of a little catalog of Zzaj
tapes that I mail out occasionally.  I thought, what better
vehicle to prove that artists don't always have to be late?
So, I just expanded my catalog, dropped my listings, and
put the title logo on it.  I still update my catalog every
three months or so and it is available for a SASE.
I published the first issue in late summer 1991 and it was a
lot closer to the catalog format.  I'm not selling
subscriptions, as I do mail outs to announce new issues.  I
only had a few, very appreciated, regular buyers for that
one, Issue #3, and Issue #4.  The page count on the latest
issue (#5) is up to 20 pages, that is the limit.
I've been getting lots of submissions, but not nearly
enough buyers.  All I ask for Improvijazzation Nation is a
measly $1.50 or five 29 cents stamps.  I still get all kinds of
folks asking for trades on the fanzine.  It'll never be a big
moneymaker.  Nor do I want it to be a business.  Still, I've
got to at least come close to covering postage costs, or it
may fold at issue #6 (August and September) or #7.
Every issue of Improvijazzation Nation has been out by
my deadline, if not before.  I receive a few regular
submissions and generally several new contacts with each
issue.  I'm still learning a lot (or trying to, anyway) about
layout and design.  Though Improvijazzation Nation will
never get to the slick and glossy stage.  It's an "over the
fence" post chat about improvisers (music and the word)
and what they're doing.  I like to get reviews of tapes and
poetry written by artists about other artists, not about
themselves.  That saves postage and still gets the artist
viewpoint out.  I'm also always looking for essays by
artists.
What are my plans for the future?  Like I said, I want to
keep it going, but if I don't get a little more support (as
cash or stamps), it'll probably fade away.  As far as
distribution, about 15 states, Italy, Germany, and England
are it right now!
HS:  What was the worst setback of your life?  How has
this setback affected your music, your life, etc.?  Have the
results been positive or negative?
RZ:  The Driving While Intoxicated (DWI) arrest that
happened after the divorce party!  It wasn't so much the
divorce or the DWI that was a setback.  It was the
realization that my viewpoint of the world, a Tom Sawyer
and Huck Finn kind of place, just wouldn't work in the
states anymore.  While I can't say anything about physical
violence by the police (as Rodney King could), there was
an attitude of "by the book" that was totally unnecessary.
That is another reason for being over here in Korea, I
guess.  In many respects there is more personal freedom
over here than in the homeland right now.  At any rate, I
don't have much use for a place where the defenders are
always on the offensive.
That could have turned out to be a total disaster.  I was
real down about the DWI, because the Army told me
about three months after it that I was going to be forced to
retire.  To be brief, after moving over here for my last
assignment, I did retire.  Right into a job making twice the
money for doing the same kind of work, and without any
of the Army B. S.!  I now have opportunities (both
networking and musically) that I probably never would
have gotten if I'd stayed in the Army.  So the effects of
what could have been a real personal tragedy turned out
to be very positive.  I hope I can stay in Korea long enough
for the changes I want to see back in the states happen.
You know, back to Tom Sawyer, no more total rule of law,
and a general loosening up.  If not, I'm still better off and
enjoying my life more than ever!
HS:  What is your greatest achievement?
RZ:  It was getting through 24 years in the military
without losing my appreciation for life and the living of
it.  The key was to get away from the substances enslaving
me in the early 70s.  You don't want to hear about that
here, it's too long to tell.  Finally, hearing the voice when
it speaks!  That is how I met the love of my life, Kim.
HS:  Any final comments?
RZ:  Keep on improvising, people!!!

CURRENT ZZAJ RELEASES
TITLE	RELEASED
Sdrawkcab Zzaj	1989
Mostly in the Gnus	October 1989
Inherited Anorexia	November 1989
Kickin' in the Kitchen at Christmas	November 1989
Zzaj-Art, Vol. 1, w/Bret Hart	November 1989
Zzaj-Art, Vol. 2, w/Bret Hart	December 1989
Jesus and Adolf (Seoul Communions)	January 1990
In A Conservative World	February 1990
Spirit of the Rhodes w/Luis Encarnacion	April 1990
Sampler '90	May 1990
'Spresso Wacko	June 1990
2 Sides of Zzaj w/DimThingShine	July 1990
10 Years After (Trillium Less One)	September 1990
Rogue Sea Merchants - Won	September 1990
Rogue Sea Merchants - Stew	September 1990
Leave the - Jesse's Behind	December 1990
Binary Reductions w/John M. Bennett	February 1991
Piece Coalitions w/Mark Kissinger	March 1991
Alien Tongues w/Jake Berry	April 1991
Each Speech w/John M. Bennett	August 1991
Critical Mass w/Mark Kissinger	August 1991
Fractured Fairy Tales w/Robert Winson	September 1991
Dangerous Revisions w/Harlan Mark Vale	October 1991
Unborn Baby w/Miriam Sagan	March 1992
Azure Shadows w/Jake Berry	March 1992
Emotional Circus w/Harlan Mark Vale	April 1992
L w/Mark Kissinger	May 1992
Sampler '92	June 1992

CONTACT ADDRESSES:

Rotcod Zzaj
c/o Zzaj Productions
HQ, 19th SUPCOM, Unit 15015
P. O. Box 2879
APO AP 96218-0171

Don Campau
P. O. Box 23952
San Jose, California 95153

Bryan Baker/GAJOOB
P. O. Box 3201
Salt Lake City, Utah 84110

Henry Schneider
210 Woodcomb
Houston, Texas 77062
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU