Context is everything. Holiday in Cambodia and California, Kill the Poor and Über Alles are classic. But, if listening to this album for the first time and knowing nothing about Jello Biafra or the time of this album, I'd hate it. Eric Speichert had acquired the infamous Frankenchrist 12" (the album after FFfRV) with original fold-out insert and brought it to school. He was avid vinyl collector and super proud of that album. For me, my fourteen-year-old self was super-excited (pun intended) to see the penis / vagina insert (pun intended). But super-let-down when he showed it to everyone... LAAAME... "This is why everyone was pissed off...? There's no context... you can't even see anything..." Looking back on this, Biafra was the perfect loudmouth, antagonizer punk rock advocate for free speech. He (and ICE-T) helped build resistance against Tipper Gore's drive to censor musicians and scale back first amendment rights. But today, that's all forgotten, glossed over. We all understand and expect those rights. The 'free speech vs. censorship' fight no longer exists. That fight has evolved into who can out free speech each other? Who can be the most nasty, vile, personal, incendiary and provocative. Oh, and bonus points are scored if it inflicts in anxiety, mental anguish, or suicide. The genie is out of the box and looking back at some of Biafra's sarcasm, double-talk and weasely antics in today's world, It's hard not to discard him for being a troll who likes to hear himself instigate and watch shit burn. It's even harder to look back at your once punk rock icons like Biafra (and even Excene Cervenka) and think to yourself, "I know they weren't perfect, but is it possible they could've been terrible people all along...?" As for the music on this album, it's loud, obtrusive, maniacal and chaotic. Great for what it was and in the context for which it existed... but time moves on, and and this album hasn't time traveled well.