December 2010 - Antigravity Magazine

STAFF
Publisher/Editor in Chief:
Leo McGovern
[email protected]
Associate Editor:
NEXT YEAR,
WE’RE GETTING
A FAKE ONE
Dan Fox
[email protected]
REVIEWS EDITOR:
Erin Hall
[email protected]
staff writer:
Michael Patrick Welch
[email protected]
AG BRINGS YOU
HOLIDAY TALES
OF SHOPPING,
EATING, AND
X-MAS TREE
HORRORS_page14
Contributing
Writers:
Michael Bateman
[email protected]
Emily Elhaj
[email protected]
Laine Kaplan-Levenson
[email protected]
Dan Mitchell
[email protected]
Sara Pic
[email protected]
Mike Rodgers
[email protected]
Brett Schwaner
[email protected]
Mallory Whitfield
[email protected]
Derek Zimmer
[email protected]
haarp_page 12
DâM FunK_page 13
Threepenny Opera_page 16
Sean Yseult_page 17
Stix duh Clown _page 18
COLUMNS:
Hello, Nurse_page 6
Medical advice from a local nurse!
That sneaky Derek.
Guidance Counseling_page 9
Advice from a local celebrity!
Splash Zone_page 10
[email protected]
504-881-7508
The month in theatre.
The Goods_page 11
Cover design by Dan Fox; Stix Duh
Clown photo by Alleyn Evans
This month in fashion.
Photo Review_page 30
The month in photos.
We like stuff! Send it to:
4916 Freret St.
New Orleans, La. 70115
REVIEWS_pg. 21
Have listings? Send them to:
EVENTS_pg. 24
[email protected]
December listings for the NOLA area...
ANTIGRAVITY is a publication of
ANTIGRAVITY, INC.
COMICS_pg. 32
Resources:
How To Be Happy, K Chronicles,
Firesquito, Will Frank’s Monsterhead
and Quarter Vomit by Otto Splotch!
Homepage:
antigravitymagazine.com
Twitter:
ANTI-News_page 5
Slingshots, Anyone?_page 8
Ad Sales:
twitter.com/antigravitymag
FEATURES:
INTRO
W
owzers. Is 2010 already over? Man, somebody slow down this ride, it is going
pretty, pretty fast. I think I’m going to be sick! Maybe it’s that oyster stuffing
leftover from Thanksgiving. Anyways, this issue is a real holiday beast and I
hope you enjoy it as much as we did putting it all together. I hope the scary clown man on the
cover didn’t frighten you. Stix is actually a great guy and we’re happy to have him lead off
our December issue. I love all the clown names in Welch’s interview with him, my favorite
being “Nostril Dumbass.” If I were a clown, maybe my name would be Danny the Deadline
Misser or something like that. We have all kinds of big top entertainment for you this month,
from sitting down with Sean Yseult, whose super amazing book chronicles her time with those
clowns of metal, White Zombie, to little Derek’s own media circus that he will be creating
outside of the Tulane Health Science building downtown. Bring him some (vegan) cocoa, why
don’t you? Sara Pic also catches up with the current production of Threepenny Opera and Dan
Mitchell talks to haarp, who have released their own carnival-of-the-damned album the Filth.
Okay, maybe that last one was a stretch. Speaking of stretches, we’re in the home one now,
so keep your toes warm and your ears covered, hopefully with some nice, big headphones, the
kind DJ Soul Sister uses when she’s working. And remember, this is the season of miracles
(seeing this issue actually out will feel like one, I know that) so keep believing. Doesn’t really
matter what. Happy Holidays; Peace! —Dan Fox, Associate Editor
3
ANTI-NEWS
AMIGOS CHILENOS: INTIMATE STRANGER RETURNS
INTRO BY DAN FOX
INTERVIEW BY JAMES HAYES
L
ast year when my band the Lovey Dovies was offered a
chance to play a show with the Chilean band Intimate
Stranger, we immediately jumped. Having just returned from
Chile ourselves, we were happy to relive some of our South
American glory days with a band from that very awesome
country. Chile, in its current political state is about as old as a
rebellious teenager and is starting to act that way, though they
seem better at handling their disasters like grown-ups than we
do (see: earthquakes and mine disasters, all in one year). Great
times! It turns out that Intimate Stranger also happens to be
really fucking good! As one lady said as she exited Peaches
records (somehow the band had scored an in-store there), “They
sound like a bunch of baby Cures.” Well hell, okay! It’s true:
their sound is so simple and driving, like some of the best ‘80s
new wave/alternative pop-- minus the cheesy reverb, posturing
and bad hairdos. All that’s left is simple, catchy rhythms,
squeaky clean guitar and keyboard tones and a female singer
with just enough poison in her throat to lure you to your death,
willingly. Ha, not really. Their CD has been in constant rotation
ever since that visit and we’re all psyched to see them again.
Intimate Stranger returns this month and since my Espanol is
muy malo, I asked fellow Dovey James Hayes (who lived in
Chile for a couple of years) to interview them and translate it
for us. He tracked down guitarist Lautaro Vera and talked about
globe-trotting, the good ol’ days of Chilean hardcore and the
futuuuuuuuuure! Thanks, James!
ANTIGRAVITY: Okay so let’s talk a little bit. Fuck the
interview vibe.
Lautaro Vera: Okay, great.
So before Intimate Stranger you played in some hardcore
bands, right?
Yeah, I played in a band called Disturbio Menor, which was
an important group within the hardcore scene in Santiago that
existed in the ‘90s. It was a very solid movement; I think it was
the most predominant in those years in Santiago. There were lots
of bands and lots of people that came out constantly to shows
even though there really wasn’t much infrastructure and few
venues. It was very DIY.
Lots of veggie burgers for sale...
Yeah, and not much alcohol! [laughs]
I remember lots of kids hand-painting their shirts with fabric
ink, really complicated stuff like Neurosis shirts.
Yeah, the truth is that everything was very influenced by bands
that were from outside (of Chile).
Like Dischord?
Right, all that stuff. New York hardcore, anarcho-punk, straightedge, vegan... All with the exact same clothes that American
dudes wore on the covers of their records. In the end it was all
bullshit. [laughs]
So tell me, and in fact I really don’t know this, how the band
started and how you met your wife Tessie (S Woodgate,
vocalist/bassist)?
Tessie traveled to Chile to study Castellano. We met through
a mutual friend and musically we had a lot in common. We’d
listen to music all the time, so eventually we started writing
songs together in the house we had when we moved to Brighton
(England). After a year of that, when we went back to Chile, we
Continued on page 23...
5
COLUMN
ADVICE
HELLO NURSE!
BY NICHOLE BRINING, LPN
HOLIDAY CHILL OUT
I
t’s December, the month that ushers in the holiday season. And for many, this time
of year brings an obscene amount of STRESS. Stress is unavoidable and for some a
daily life occurrence. But few know about what stress does to your body and to your
health. I’ll tell you what stress is capable of and then list some ways that you can cope.
Let’s do a quick break down of the science behind stress. When something happens that
triggers stress in our lives, Adrenaline and glucocorticoids are released into our body. These
two hormones are the backbone of the stress response system. We were built to release
these hormones when stress becomes present in order to SAVE OUR LIVES. It allows
our lungs to work overtime, our heart to beat faster to circulate the increasing oxygen in
our blood and lets our muscles work faster. This is essential in order to run from whatever
is chasing us or to chase after whatever is running away from us. But today we are not
hunting or being hunted for a meal. We secrete these life or death hormones in situations
such as traffic, thinking about the oil spill or taxes, therefore constantly wallowing in a
corrosive bath of hormones.
Animals secrete these same hormones in stressful situations but have an advantage
that humans do not. After an animal has endured a stressful situation, they are able to
shut down their stress response until the next stressful event. Humans are very poor at
recovering from negative stress.
And this is what negative stress does to your body and your mind: causes you to lose brain
cells (memory to be exact), gain weight in your abdomen, cause depression, arthrosclerosis
(hardening of the arteries), suppresses your immune system so you get sick quicker and
longer, diminishes your libido and dulls orgasms and just makes you a miserable human
being. SORRY TO STRESS YOU OUT!
Don’t panic! You can get through this. You can cope and once you learn these skills
you’ll be equipped with an arsenal of stress releasing tactics. Your mind and body will
thank you.
* First thing to do whenever anything is stressing you out is to find out exactly what is
stressing you out. You may blame your stress on the sudden turn of cold weather but it
may actually stem from an annoying coworker you have to put up with. Be honest with
yourself. What is really stressing you? When you identify the cause of your stress, you are
then able to tackle it.
* Don’t waste time and energy on stressing about things out of your control. You can’t
save every stray you see or make hurricane season vanish into thin air. But what you can
do is volunteer or donate to an animal shelter and start a hurricane preparedness list early
in case you do need to evacuate. Just remember that you can’t fix all the world’s problems,
but if you contribute and help even the tiniest amount, it really helps. Plus it soothes the
stressful soul.
* If you don’t need it, get rid of it. I started doing this a few years back and it has helped
me a lot. I noticed how stressed I was during rush hour traffic. It made me clench my
jaw and gave me horrendous migraines. Then it dawned on me that there was nowhere I
needed to be right after work. Instead of going straight on into heavy traffic, I would just
walk to the local coffee shop or just sit at my desk and read for 30 minutes or so until
the heaviest traffic died down. I still do this to this day. If I don’t need to go into rush
hour traffic then I won’t. The same applies in other aspects of your life. Do you really
need that extra shift at work or is it more stressful than the money you’ll make? Do you
really need to get so tanked that you’re going to worry about cops behind you the whole
way home? If it is avoidable, if it is something that you do not have to put up with, then
don’t put up with it.
* Pick your battles. Dealing with people is one of the most stressful situations.
People just suck sometimes. The good thing though is that you don’t have to let them
stress you out. You can fully decide whether or not you are going to let “Joe” get under
your skin or not. If you tell Joe a thousand times to not leave the door open and he still
does it, the ball is now in your court. Will you let this bother you for the thousandth
time? Is the door being open big enough to stress you, thereby effecting your health,
wellbeing, and quality of life? When you look at the big picture, Joe’s thoughtless
action seems rather small in comparison to the stress response you’re about to put your
body through.
* Here are some sweet links to help you out: ehealthmd.com lays out the “TARP” method
for dealing with stress and also points out many of the symptoms and signs of stress. Look
for the “Stress” topic on their homepage. Also, helpguide.org breaks down the stress cycle
and also has some really funny stock pictures of stressed out people. Is that you?
There are many many ways to cope with stress. Some say drink calming tea, listen
to music or go running, etc. These are all great ways to relieve stress. But remember,
if you don’t get to the core of what’s stressing you, all that great advice is nothing but a
distraction.
6
COLUMN
LOCAL CULTURE
SLINGSHOTS, ANYONE?
BY DEREK ZIMMER
[email protected]
30 DAYS FOR LABORATORY ANIMALS: PART I
“G
row up!” the suited man said as he passed through the
glass doors of the Tulane Health Sciences Center, while
I gracefully attempted to hand him a flyer with the hand
not cradling a cardboard-mounted sign. He kept walking.
“But we’re adults!”
And so began Day 1 of my long-winded 30 Days for Laboratory Animals
campaign against vivisection outside Tulane University’s downtown animal
research lab. Not to suggest that the day was bad, by any means. Between
the several friends who showed up throughout to help, the dispensing of
all 200 flyers and—between the few disgruntled responses—the many
encouragements we received from the facility’s workers and passersby, I’d
deem it, overall, a pretty decent first day! My only regret was not bringing a
boom box and bumping my Naughty By Nature CD out in the street! What
a tremendous failure of oversight! Well, there’s always tomorrow, I guess...
So here’s the skinny: beginning on November 29th and spanning all the
way to December 29th, I will be holding it down outside the Tulane Health
Sciences Center at 1430 Tulane Avenue in the CBD, every day from 11am
to 3pm. Sometimes flyering, maybe occasionally rocking a sign, but mostly
just utilizing my physical presence to challenge the daily exploitation of
the animals—primates, pigs, mice, cats, ferrets and others—poisoned and
cruelly experimented on within this lab.
One evening in my kitchen a few weeks ago, while discussing the
importance of individual acts of resistance against oppression, my friend
Dylan told me a poignant story about a former cellist for the Sarajevo Opera
named Vedran Smailovic, who in April of 1992 – along with his fellow
citizens – found his city under siege by Serb forces. This siege, I later
learned, one of the longest of a capital city in the history of modern warfare,
claimed a total of 100,000 lives and an additional 56,000 (many of whom
were children) were wounded in the constant sniper firings and bombings
over the proceeding years.
8
Among those casualties were a group of 22 people struck by a bomb while waiting in a queue for bread at one of the
few remaining bakeries. All 22 died instantly. These individuals would have likely gone unremembered by history, mere
drops in the enormous bucket of war fatalities, if not for the actions of one person: Vedran Smailovic. As he looked out
his window upon the rubble, the grotesque final resting place of his neighbors, Vedran resolved to offer some gesture of
remembrance. He thus began, dressed formally as though for an opera gala, taking his cello out into the street each day
and playing— 22 straight days, so the legend goes, to represent each of his fallen neighbors. Amidst the ruins of his warravaged city, and at great risk of losing his own life in the attacks, the lone cellist continued his serenade each day—often
for no audience at all. Yet with this simple gesture, he effectively sent a message to those cowering in the shadows: he
refused to submit his humanity to the terror heaped upon them; he refused to accept the unpardonable and inescapable
atrocities that had come to consume Sarajevo’s reality.
I felt so moved by this account that I soon resolved to make a gesture of my own: for an entire month, for just a few hours
each day, I would hold a vigil in front of an animal research lab to honor the lives of those prisoners who pass through its
doors—and who never again witness the light of day.
Hence, 30 Days for Laboratory Animals. This project is my own individual response to the trauma of inhabiting a
world where such a violent aberration as vivisection exists—a gesture of defiance against an exploitation industry that
masquerades itself as science, torturing millions of unique individuals a year for profit. It is my attempt to transform a
public sidewalk, blind and unfeeling to the injustice around it, into a radicalized, liberated space for resistance. It is a
statement to the world and to those perpetrators who commit these acts of violence with impunity for their paychecks that
animal beings do not deserve lives of confinement, torment, and pain — least of all in the name of dubious experiments
based more on an influx of grant funding to fatten pockets than on any actual scientific insight.
With that said, I would like to invite you—uh huh, you—to join me on the sidewalk any day you wish, any time from
11am to 3pm—until December 29th. So if you’re not busy, come have lunch with me in front of this facility.
Four hours every day for thirty days is quite a gap to fill, and it is my intention to make the campaign more dynamic and
interesting than merely “protesting.” Keep those eyes peeled for more special “events” ensuing throughout the month at my
online journal chronicles: 30daysforanimals.wordpress.com. And remember: any day — and I mean any day — you can
come out, for any length of time between 11am and 3pm (that’s four hours!), would make my day. Otherwise I will be a sad
and lonely little man out on the sidewalk all afternoon. You don’t want that, now, do you? Well, do you?!
“Stand with me. Stand and fight. I am one, and we would be two. Two more might join and we would be four. When four more join, we
will be eight. We will be eight people fighting whom others will join. And then more people. And more. Stand and fight.” –Derrick Jensen
ADVICE
COLUMN
GUIDANCE COUNSELING
THIS MONTH'S TRUSTED ADVISOR: sean yseult
NAUGHTY PICS AND BAD TIPS
S
ean Yseult is doing doubleduty for us this month. Not
only do we get to talk to her
about her most excellent book (I’m in
the Band: Backstage Notes from the
Chick in White Zombie), but seeing
as how she’s such a renaissance
woman (musician, painter, author!)
and road warrior extraordinaire, we
asked her to tackle the quandaries of
this month’s advice seekers and she
was kind enough to oblige. For the
rest of you, we highly recommend
picking up her book, which is its
own kind of heavy metal therapy.
I’m kind of new to town and now
that the holidays are upon us, I’m
finding myself at more parties
where I feel really awkward and
don’t know where to go, because
I hardly know anyone there. I’m
not a good mingler, in other
words. What can I say or do to
keep from wandering around
aimlessly?
To misquote Midnight in the Garden of Good and Evil, there are some towns where
people ask “What do you do for a living?” There are other towns that ask “What church
do you belong to?” In this town, people mostly want to know “What are you drinking?”
Alcohol is the age old ice-breaker. I hope I’m not giving advice to a teetotaler, but if you
ended up here I doubt it! You ARE talking about parties, right? All I’m saying is, you
could make some conversation at the beverage area with whoever else is scrounging for
a drink. You know, “What’s in the punch, would you like some of this, what are you
drinking?” etc. And how did you hear about this party in the first place? Go with that
person and have them introduce you to a few people; you must know someone that could
make an introduction or two!
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I recently broke up with my boyfriend and am realizing now that he still has some “erotic”
pics I took with him in the good ole days. How can I ask for them back tactfully? Like,
I want to go on his hard drive and make sure they’re totally wiped out, but that sounds
crazy. I don’t think he’d do anything irresponsible with them, but I need to know they’re
destroyed. Help!
I hate to say the obvious, but in this age of cyber-technology, there is no such thing as getting
your pictures “returned.” He could send them back to you but they are not originals and
negatives! Even if you watched him wipe out his hard drive, it is unlikely he doesn’t have
one copy saved somewhere on his computer, especially if it is something he might enjoy
looking at. The best I think you can hope for is an earnest conversation with him about your
concerns, and that he will behave like a gentleman and not circulate these photos. Good
luck, and chalk this one up to an educational experience!
Somebody left me some cocaine as a tip one day at work and I don’t really do that kind of
thing. Should I be pissed? Should I pass it on? I’m stumped.
Wow. I’ve never heard of this before! I shouldn’t be so surprised in this town, but it’s a
new one to me. This is probably a joke but I’m going to answer it as though it is real. I
think it’s a little too late to be pissed, and definitely do not pass it on! Coke’s not good for
anyone, and I’ve never heard of a person with coke freely giving it out-- for all you know
it might be something entirely different. I’ve known people to die making this mistake.
On a different, but related note, a famous rock star once gave me a big chunk of hash in
Europe after a festival we had played together. Like you, I didn’t really “do” that kind of
thing. I’ve actually got nothing against hash, and it seemed a terrible waste to toss it, so
like you, I tried to think of someone to give it to. But we had to cross a border the next
day, so I flushed it. I suggest you do the same!
9
COLUMN
THEATRE
NOTES FROM
THE SPLASH ZONE
by SARA PIC
[email protected]
DECEMBER ROUNDUP
S
ometimes the best way to experience theatre is to not watch, but to feel it. Take a
seat in the splash zone as you never know what may fly your way.
Get Foxy
No, this is not a play about
Antigravity editor Dan
Fox. This is a play about a
fox with whom some may
already be close pals and of
whom some may never have
heard. Fantastic Mr. Fox
returns to the Contemporary
Arts Center (CAC), after
a very successful run this
past spring. Some may
remember Fantastic Mr.
Fox from childhood, as the
play is adapted from the
Roald Dahl story about a
crafty fox struggling to feed his family and the villainous farmers trying to thwart him.
As designer and director Arthur Mintz relates, the show was forced to close its run early
in the spring due to heat, so he was excited for the opportunity to bring the show back
this fall. The show also includes new puppeteers from the Mudlark, playing over 40
puppets. Mr. Fox is once again voiced by local legendary New Orleans drummer Johnny
Vidacovich and Mrs. Fox is voiced by his wife, Deborah Vidacovich. The show features
other all-star musicians showcasing their creative talents in new ways; the costumes were
designed by Theresa Andersson and The Bally-Who? provided an original score for the
show. But all of this stellar talent is not the best reason to see the show. In this highly
unique production, the audience literally climbs into the story, that is, the audience
climbs through twelve different sets, which are connected by “underground” cardboard
tunnels. The entire installation takes up the full third floor of the CAC. And if you
are wondering whether this show is just for kids, Mintz reassures that “when we were
designing the piece, we never said to ourselves ‘what would kids like?’ We simply thought
about the world we wanted to create...and we’re a bunch of 35 year-old musicians.”
Get Dancey
Scott Heron, along with Minneapolis-based HIJACK (featuring Kristin Van Loon and
Arwen Wilder), bring to the AllWays smithsoniansmith, a dance piece unlike anything you
have seen. This accomplishment is nothing new for Heron, who brought us last winter’s
acclaimed experimental dance piece Some Times at the All Ways. Lest you think Heron and
friends are experimenting with no purpose other than to be experimental, Heron explains
that this show formed from probing the question of what it means to be radical or if it is even
possible to be radical anymore. The show explores these questions through stage directions
from plays by Jean Genet and Sam Shepard, turning them into dance choreography and
setting them to 20th century early electronica music, which was considered at the time
highly edgy and radical, but today may sound dated to us. And as you can expect from
Heron’s shows, the dancers use many forms of “trash” to turn into new works of…art?
There may not be an answer, but Heron is wielding a hot glue gun, so watch out, splash
zone dwellers. But the risk is surely worth it because in what other dance show will you see
beer cans smashed on bellies, glued to Carnivalesque headdresses, and cleaning up an oil
spill with absorbent pom-poms?
Fantastic Mr. Fox runs at the Contemporary Arts Center, cacno.org, until January
2, Thursdays and Fridays at 5 pm and 7 pm, Saturdays at 11 am, 1 pm and 7 pm, and
Sundays at 1 pm and 3 pm. Tickets are $12 on Thursdays for CAC members and $15
for non-members, Fridays, Saturdays, and Sundays are $17 for CAC members and
$20 non-members. Check out the trailer at youtube.com/watch?v=dwRv4xyrVSM.
smithsoniansmith runs at the AllWays Lounge & Theatre from Thursday through Sunday,
December 16 through 19 at 8 pm for $10. Go to marignytheatre.org for more info. Send me press releases, vague info on shows, or theatre/performance art news or gossip!
Holla at [email protected].
10
COLUMN
FASHION
THE GOODS
BY ASHLEY ROBISON
[email protected]
WHERE COMMUNITY, COCKTAILS &
CLOTHING MEET: RUFFIAN SWAP
T
his month I caught up with Rachael LaRoche, the founder behind Ruffian Swap, a monthly
men’s and women’s clothing swap event. Ruffian Swap just recently held its November
‘Sip ‘N Swap’ at Vintage Uptown, and Rachael was kind enough to share some words with
us about Ruffian Swap, how it started, and where it’s going...
Why Ruffian Swap?
The word “Ruffian” was just
a word I’ve always liked.
I loved the idea of how a
ruffian is a scoundrel and this
event touches on edgy and
underground fashion. When I
researched the word a little more
I also learned that there was a
champion racehorse in the ’70s,
a filly named Ruffian. She was
undefeated her entire career and
is still considered to be among
the greatest U.S. racehorses of
all time. She had a white spot
on her forehead in the shape of
a star, that’s where the inspiration for the logo came from.
As for the event, the idea really grew because it was just something I wanted to do for myself,
my city and the environment. I love clothes, obviously, but don’t shop very often since I’m on
a budget and wanted a way to rotate new stuff into my wardrobe without breaking the bank—
and also to reduce all the waste that the fashion industry produces. There are always people that
need clothes! The idea of bringing people together through a shared love of clothes, shopping and
fashion really appealed to me.
What has the response been like? What has surprised you most about the event?
At our first swap we had 50 women, and attendance has wavered from there. We’re still trying to
find what the best day and time is for everyone so we’re always trying something new and keeping
an open ear for suggestions. One my most favorite and most surprising things about the swaps has
been hearing people exchange stories about when and where they wore their items. When they
pass on an item it’s like they pass on its soul too, which is a very sweet feeling. Also just seeing
how many things people leave with! We’ve noticed that, on average, swappers leave with eight
items, not bad for just the price of admission and some clothes you don’t wear anymore. Clothing swaps started out as private events between girlfriends—how are participants
responding to an open-to-the-public event?
People actually really like the openness of it; it just increases the diversity of sizes, shapes and styles
that are available to “shop.” It also reminds me that something that isn’t right for me is almost always
right for someone else. The experience is also really fun and exciting to people. As a swapper, you
watch volunteers fill the racks with clothes until the proverbial gun goes off and then it’s open to
take whatever you want. Some people sift slowly through, others rush and grab. It’s an exciting
way to shop without having to pay for individual items. Many women come with friends as a girls’
outing and have a blast trying things on and figuring out what new finds to take home.
How does Ruffian Swap fit in with New Orleans culture?
As New Orleanians we’re all experienced people. We like to do stuff in our communities and be
involved with one another. Ruffian Swap fosters this through a shared love of fashion, an industry
that is very much present in New Orleans. Swapping may be a new experience, but it adds to the
list of fun, creative events in town. This one is not only self-serving, but it also gives back to New
Orleans because we donate leftover clothing to local shelters and organizations.
What do you say to the guy or girl who hasn’t come because they’re worried about
nothing being in their size or style?
We encourage everyone to come regardless of their shape, size or style because we believe that the
more variety there is the better we can serve a diverse group of swappers. We can’t serve any size,
shape or style if no one comes! If everyone who was worried came, and told their network to come
too, there would be more than enough for everyone to choose from.
The way I see it, a clothes swap should be community event. By involving more than just a small
circle of friends the access to styles and sizes of clothes is increased dramatically. Communities just do
not thrive with exclusivity. Ruffian Swap is just a fun idea without community. I don’t want Ruffian
Swap to be some too-cool-for-school event. I want everyone as unique individuals to show up and mix
and mingle with a group of other individuals gathered together out of their interest in clothes.
The next Ruffian Swap will be held on December 18th at The Occasional Wife. For more
information please visit ruffianswap.com. You can also receive updates on Twitter @RuffianSwap
and on Facebook at facebook.com/ruffianswap.
11
MUSIC
HAARP: BRINGING THE FILTH TO THE DIRTY DIRTY
BY DAN MITCHELL
I
t will take but only one hour of your precious time, but if
you could summon this one lone stretch, it will be worth
every second, I promise you. I am referring, of course,
to the time it will take to listen to the new full-length album
from this city’s most brutal and unclassifiable metal band,
haarp. The album is called The Filth and one listen might just
change your life forever. The record is as unforgiving as they
come and as complex conceptually as I have heard all year;
and after listening to the nine tracks held within, I am sure you
will agree. Nevertheless, under the serious and vicious façade
of their music lies a group of truly inspired, hard working and
generous guys who want nothing more than to share with you
what they have created. ANTIGRAVITY caught up with Keith
Sierra, haarp’s drummer, just one week after their November
release show of their supreme metal offering, to talk about
what went into their writing process, what their recording
experience was like and how an album this multifaceted and
pulverizing actually came to be.
ANTIGRAVITY: First, I wanted to talk about the
cover artwork for your new full-length, The Filth. It is
phenomenal, gluttonous and filthy as fuck—how did
you guys link up with Paul Booth (the infamous
tattooist and cover artist) and how were you able
to get on the same page with him so completely in
concept?
Keith Sierra: We got in touch with Paul through the
label (Housecore) and it was a complete surprise.
While writing each concept and its relating song
or songs, we also took the time to mentally draw a
picture of each concept. I wrote down notes about
style, colors, details that should be in the images
and everything that we thought should be in a visual
representation of the story. We decided that the
Glutton King story line was very strong imagery
and would fit nicely for the cover. After discussing it
amongst ourselves and looking for someone to bring
the ideas to life in an actual piece of art, the label
suggested Paul and connected us with him. I spoke
with Paul through email and over the phone and gave
him our ideas for the cover art and he explained his
creative process and how he had similar ideas on this
particular topic. He told us he would paint a picture
based on all of these ideas and the finished product
is excellent. The vivid details in the art, the emotion
Paul put into it and the overall look fit the Glutton
King concept as well as the overall theme and title of
the album. The art itself goes along with one story line
that spans two songs, “A New Reign” and “Plurimus
Humilus, Ciacco.” These songs tell the story of the
Glutton King and his punishment. Reading the lyrics
to these two songs, you’ll find that Paul managed to capture
the small moment of time between the songs, when the King
comes to the realization that he is going to get his due. His
art actually added to the concept by completing the story and
filling the gap between the lyrics in the two songs.
Before haarp, you played in the grind band rat in a
bucket with Shaun (Emmons, vocalist), while Grant (Tom,
guitarist) was a member of the black metal band De Capa
Preta and Cancer Patient. Your sound as haarp bears
little resemblance to any of these projects on the surface,
yet elements of both still remain, along with elements of
punk, hardcore, doom, etc... Was it a conscious effort to
create a sound that was largely unlike past bands or was it
a result of the eclectic tastes of the members that led to you
sounding so unique and unclassifiable?
Grant and I did decide to approach music differently with
this band from the onset. We wanted to play music that
wasn’t speed oriented or reflective of the manic changes of
our previous bands. We wanted to get out of our musical
12
comfort zones and try to write better songs. Even with this
decision, we all will play in our own personal styles. Everyone
approaches music the way they are comfortable with it and the
way they hear it, and it shows with haarp. That’s why you’ll
hear elements of other styles in our songs. Grant might hear
a black metal vibe to a straightforward part that Ryan and I
are locked into and change his picking to reflect that. I might
hear a different rhythm within a part that they didn’t intend to
be there or that changes the part from upbeat to downbeat in
separate measures. Ryan [Pomes] might hear big bass chords
in an open riff, which add to it and make the part bigger and
fuller. Like you said, these personal and eclectic approaches to
music both contribute to our sound. We listen to a large variety
of music and it influences the way we approach our songs.
at Balance Studios, then we moved to Puma’s Lair for the bass
and guitars, and finally recorded the vocals and the leads at
Nodferatu’s Lair. The studio was a great learning experience.
Even though the songs were all written and arranged before we
went in (like always), it was the first time we had ample time
to track things right and take our time instead of rushing in and
recording as best as we could within a set time frame. Things
were businesslike and relaxed at the same time. Phil and
engineer David Troia are very supportive and have great ears
and knowledge. They also aren’t afraid to push you and tell
you that they think you can do a better job, which is important.
We all got to be involved every step of the way, express our
opinions on how we felt the album should sound, and learn a
little for next time. We’re very happy with the end results.
Back in early 2008, the last time you spoke with
ANTIGRAVITY, you had just put together a self-tilted
EP. Things are different now in that you have a full-length,
a few more years playing together and a deal with Phil
Anselmo and his Housecore label. How did you initially
hook up with Phil and when?
Phil was interested in seeing and possibly signing rat in a
As far as your writing process goes, I see that you, Shaun
and Meghan Flewellyn, crafted the lyrical concepts
and vocal content. There is great fluidity in content and
concept—is this a result of you and Shaun knowing each
other well and playing together for years or was it more
like the stars aligned for you?
We definitely spent a lot of time working on the concepts
and vocal content. When we needed lyrics for the
material, I would come to Shaun with these ideas
that I had and story lines. I would talk them over
with Meghan and hash out all of the details, direction
and point of view for a story. She would play devil’s
advocate—find the holes, make sure everything was
tight and worked within the story, basically make me
think it out and help me with details and consistency.
Then I would present it to Shaun. He and I would
talk it over, adapt it and get on the same page. He
would take these big stories and condense them down
into his personal lyrical style and we would go back
and forth, updating, editing and making sure each
word was correct and meaningful. Sometimes the
stories would need numerous songs to complete, like
I touched on for the Glutton King story line and the
cover art. Other times we use characters from one
story in another song and change the point of view
or tell of a different time period in that character’s
life. These songs always were consistent with each
other so the continuity there was deliberate. When we
were trying to name the album, we looked deeper and
noticed an overall theme amongst all of the stories
themselves. We used this to our advantage and named
the album based on that theme. Basically, it took hard
work, knowing each other and a little bit of luck to
have the lyrics and vocal concepts come out the way
they did in the end.
bucket, the band Shaun and I were in before haarp, back in
2007. He had heard the music and enjoyed it. After that band
disbanded and we formed haarp, he heard about us through
mutual friends and expressed interest. We talked and I sent
him a copy of our first EP from 2007. He liked it and asked
what we planned on doing. We were getting ready to record
our second self-produced EP at the time and he got his hands
on that and asked us to sign on the label.
There is a great deal of darkness on the new record as
well as hysteria. Two lines from “Peerless,” in particular,
jump out at me for their sheer poetic nature and vividness.
“The night draws its curtains on the day spent/ The Night
comes to steal what the day had won.” Are these concepts
personal in nature or do they deal solely in the abstract?
New Orleans can be a tough place to live, but there is no
place like it. How much of the concepts within the record
reflect your view of the culture and nature of the city and
your life here post- Katrina?
It’s a mix. While the story for “Peerless” is very deliberate
and specific, the theme of the song can apply to anyone. The
city plays into it, I’m sure. Shaun writes the actual lyrics and
I know he has felt the wrath of New Orleans once or twice. I
know I’ve had some bad nights in the city. [Laughs]
In the past, you recorded your own music, but this time
around you recorded The Filth at Nodferatu’s Lair on
the Northshore. What was it like working with Phil in the
studio? The end result of the record is stunning and the
arrangements are full and relatively clean. What was your
recording atmosphere like that led to you walking away
with such a superb end product?
Our two previous releases were DIY and done with our friend
and a very good engineer named Greg Stein. This time, the
label set up the recording and we tracked between three
separate locations on the Northshore. The drums were recorded
Haarp will be playing on December 17th with Ponykiller
and High Priest at Siberia, 2227 St. Claude. For more
information, check out myspace.com/haarpnola and
thehousecorerecords.com.
MUSIC
DâM FunK and DJ Soul Sister: Spreading the
Funk All Over
BY MICHAEL PATRICK WELCH
H
ave you ever been listening to a
ClearChannel “Rhythmic Top 40” radio
and thought, ‘Wow this song would be
great if that dude would just shut his
mouth?’ Well, so has Damon Riddick, known as
DâM FunK, a crafter of modern electronic, largely
instrumental funk music. DâM FunK made his first
mark in the ‘90s as a Los Angeles keyboard session
player for west coast “G Funk Era” rappers, as well
as New Orleans’ beloved (long lost?) Master P. DâM
FunK later achieved underground fame with his weekly
Funkmosphere dance parties in L.A. where, when not on
tour, DâM spins the deepest funk cuts from the late ‘70s
and early ‘80s: a period which many funk purists would
turn their noses up at but which DâM FunK exalts,
aiming to prove that funk didn’t end with the Meters.
His laser focus on the funk does not,
however, exclude him from oddball
projects such as remixing Animal
Collective’s “Summertime Clothes.”
More recently, DâM FunK has
begun releasing his original music,
including the five vinyl record (or
two CDs) set Toeachizown, available
from the Stones Throw label, owned
and run by turntablist Peanut Butter
Wolf.
Similarities can be drawn between
the man and New Orleans’ own DJ
Soul Sister who has spent many years
utilizing vinyl records (on her longrunning WWOZ radio show and at
many local live gigs) to prove that funk
actually has a much broader definition.
Both her and DâM FunK desire to
illuminate while rocking the party
strictly on their own unique terms. And
it was Soul Sister who spent the better
part of two years struggling to bring
DâM to New Orleans.
ANTIGRAVITY convened with
Soul Sister to rap about New Orleans’
musical timidity, the similarities
between her and DâM FunK and the
illusive definition of the word “funk.”
ANTIGRAVITY: So thank you for
bringing DâM FunK to New Orleans!
DJ Soul Sister: It has been my mission
over the last year to bring more
soulful underground DJ culture to
New Orleans, like DâM FunK or Rich
Medina, who’s known for his Afrobeat
sets or Kenny Dope, who’s known for his soulful house
and underground disco sets. There is zero soulful DJ culture
here in the city. There have been some things I’ve done here
and there in the past, but this is a big thing because DâM is
known everywhere. This show has been a year and a half in
the making.
So when did you first come upon DâM FunK?
For years people were telling me, “There’s this guy you
need to check out! You’re like the female DâM FunK!”
And I kept hearing about his selections from his famous
Funkmosphere DJ series in L.A. I was trying to go take a
trip and see it for myself, but every time I could go he was
on tour. Then the CD dropped, a year ago or whatever, and
PHOTO BY MATTHEW SCOTT
I just love everything about it—it’s on the jukebox at R Bar
for anyone who wants to listen [Laughs].
Will DâM perform his own live electronic music at all at
this show, or will he only be DJing?
Well, he actually doesn’t do his DJ sets right now--he has
his own band now called Master Blaster, with vocalists
and everything, and he’s concentrating on that--but this is
one special gig where he will DJ, which is what he started
out doing. He will be also spinning some of his newer
stuff, though, and he has been known to bring his keytar
[guitar shaped keyboard]! But because of this city being
slow to take chances on things, I couldn’t find anyone that
would pick up his entire band [Smiles], even though every
party I throw ends up being a sure-shot winner… But this
is one of his only DJ gigs left, if not the only one.
Well I hate to say ‘80s because I don’t want anyone
coming to hear Pat Benatar, or even Michael Jackson
for that matter. “Right On ‘80s Party” is just where I take
over One Eyed Jacks who-- their ‘80s night is very well
known and it’s a very nice crew of folks that do it. But you
know, if you went to any of these ‘80s parties I’ve been
to over the years in different places, or bought these ‘80s
compilations, you’d think there were no black people in the
‘80s. So, basically I play classics that you won’t hear on
other nights: Zap! or Gap Band or Midnight Star. Late
‘70s and early ‘80s funk, basically, along with some more
underground hip-hop stuff, even some rare electro and
post-punk. Also what’s known as “boogie,” underground
dance stuff from the ‘80s, sort of disco. And all of these are
all things DâM is influenced by... Also, aside from his own
music, DâM is responsible for the return to secular music
of Rick Arrington, who was the leader
of Slave, a huge ‘80s funk group. After
lots of success with Slave and on his
own, Arrington became a minster and
totally quit performing his old stuff.
But DâM has brought Steve back out
and is producing his first secular record
in a decade. That’s going to be on
Stone’s Throw records. Jodie Watley,
as well.
Whoa, Jodie Watley. That’s deep. But
so, I find myself asking musicians this
question a lot, and it’s an interesting
question in New Orleans especially:
what is funk?
Wow. [Laughs. A lot.] That is a good
question, actually.
I have had this conversation a lot
because, though funk is a product
of this city, so many of these newer
New Orleans funk bands don’t sound
funky at all.
I will answer the question like this: there
is conformity in non-conformity. When
I started my WWOZ radio show in the
mid ‘90s no one was talking about funk.
It was a big deal when they finally did
a CD compilation on the Meters. It was
like ‘Wow! They’re finally accepting
this band as part of New Orleans!’ But
now the entire idea of funk [in New
Orleans] is that it has to sound like the
Meters, and it had to have come before
1974…
I don’t know why anyone would quit DJing if they were
getting offers. It seems like such a great low effort/highreward situation.
Well, that’s another way in which DâM and I are similar:
I turn down about 90% of what is offered to me, because
if I accept everything then that means I might have to play
something I don’t want to play. And I’m just not doing that.
That’s why I like to throw parties, and I’m the boss, and I’m
the only one who can tell me what to play. Some DJs play
what the party calls for, but DâM and I only spin what we
think it calls for.
Why did you decide to book him as part of your ‘80s
night series?
But no one really sounds like The Meters. None of these
new bands have that cool herky-jerky oddness. They just
drive right up the middle and don’t necessarily sound
very “funky.”
Yes, there’s this idea that funk has to be this certain thing,
and personally I just don’t like things to sound the same.
And that’s what I love about DâM: he has blasted open
that whole entire concept and said, ‘You know what? Funk
didn’t end in 1974. It didn’t end in 1979!’
DâM FunK with DJ Soul Sister, DJ Brice Nice and Otto
will all spin as part of Soul Sister’s “Right On ’80s Night”
party, Friday December 17th at One Eyed Jacks. For more
information, check out stonesthrow.com/damfunk.
13
CULTURE
NEXT YEAR WE’RE GETTING A FAKE ONE
THIS YEAR, AG BRINGS YOU THREE OF OUR FAVORITE THINGS ABOUT THE
HOLIDAY SEASON: TREES, SHOPPING, AND EATING
TREES OF THE HALL FAMILY
I
BY ERIN HALL
grew up in a centuries-old antebellum home in south Alabama. Our 12 ft. ceilings
practically ache for a soul mate in the form of a marvelous fir tree. Since I can
remember, we’ve had a tree of legend. One was so big, my friends would ask to
come over just to see it. One was so fragrant that its woodsy smell hit you the second
you reach our porch. I used to sit at its base like Clara in The Nutcracker and imagine it
growing up through the ceiling. With greatness, however, comes complication. And we’ve
had our fair share of that…
Holman Prison Blues
My mother worked here in New Orleans as a nurse when I was very young. On her way
home to Alabama one winter night, with our 100+ lb. Christmas tree strapped to the top of
her car, it began to snow as she took the exit for my small hometown. It would be another
30 minutes drive to our house. Unfortunately, as she was passing the maximum security
prison right off the interstate, the tree did what all tree lot workers promise you it will never
do: it fell off. Fell off and cracked in multiple places to be specific. My mother, horrified,
leapt from the car and attempted to haul the broken tree back into the car in the snow.
Determined to give us a perfect Christmas, my mom drove the rest of the way home with a
12 ft. Christmas tree sticking out of the back of her car. She held the trunk under her arm as
she drove. And, ladies and gentlemen, my dad patched that tree back together and we put it
up. Yuletide ghetto engineering at its finest.
Timber!
A few years later, I was spending a day home sick from school in December. Curled up
on the couch with a box of tissues and the remote, Mom had just called to check on me. I
assured her I was fine and put the phone back in its cradle at the other end of the room. No
sooner had I readjusted than I spotted something moving in my peripheral vision. And…
boom. The tree came crashing down on the couch, ornaments rolling and shattering in every
direction. I crawled to the phone to call my grandfather, who kindly came and removed the
massive beast from my sickbed. This is the Christmas I will always remember as the one
when I was literally attacked by holiday spirit.
Timber! Vol. 2 (The Uncensored Version)
During my preteen years, we had a particularly stubborn tree that refused to stay in the
base. It was simply too hefty to be contained by some flimsy plastic and a few bolts. Mom,
ever the perfectionist, spent hours adjusting it while my siblings and I sat on the couch,
attempting to direct her in straightening it. Eventually, having had enough, she screamed,
“I don’t care anymore! Let the fucker fall!” and plopped down on the couch. The tree
immediately fell to the floor with a loud crash. I swapped glances with my brother and
sister as we silently debated how to react. We all erupted into laughter and that night has
since become one of our favorite Christmas stories. Mom is still less than happy when we
recall it (she thinks it makes her sound like a terrible mother – it doesn’t), but it was such a
humanizing moment. Not everything can always be perfect, but eventually we got it up and
had a wonderful Christmas. As much as my mom wants every Christmas to be a Norman
Rockwell painting, all crackling fires and homemade cocoa, sometimes life doesn’t work
that way. After this incident, however, my dad did weld us a custom tree stand that weighs
about 30 lbs. on its own (we’re nothing if not resourceful!)
The Real Meaning of Christmas
My grandfather passed away when I was 15 years old. He was very much a second father to
me and his loss affected me in deep, reverberating ways for a very long time. A few months
after he passed, his wife, my grandmother, fell down her basement stairs and broke a leg.
During the standard x-ray process that followed, doctor’s discovered that she had five major
arterial blockages. Surgery was scheduled immediately and the situation grew increasingly
dim. That year, the Christmas of 1999, our first Christmas without Pepaw, my Memaw lay
in a hospital bed in our guest room, barely able to move. All skin and bones and fragile as
an eggshell, my mom lifted her out of the bed into her wheelchair and we posed in front
of the tree, our faces filled with exhaustion and sadness. The tree was smaller than usual
and only half-decorated, as we’d spent so much time at the hospital. It definitely wasn’t the
best Christmas we ever shared as a family, but I look back on it now and I see how, in that
moment, standing in front of our sad Charlie Brown tree, we were united more than we
may ever be again. I had a realization that the perfect tree doesn’t make it Christmas; it’s all
14
about the people you’re standing next to. I am happy to report that over a decade later, my Memaw
is still sitting next to me on the couch, looking up at our big Christmas tree saying, “Ain’t it just the
prettiest thing?” It’s true that you don’t truly realize what you have until you nearly lose it all.
What Have You Done Erin?!
My senior year of high school, I was alone in the house with my parents. My brother and sister had
moved out and my mom was really starting to struggle with the idea of an empty nest. We’ve always
been fiercely close and though I didn’t tell her, the thought of leaving was weighing as heavily on me
as it seemed to be on her. My last Christmas living at home, she was determined to pull out all the
stops. While her preference in trees had always been height, mine was sheer fatness. Like, carnival
levels of ridiculous fatness. For my last Christmas at home, I was allowed to pick whatever tree I
wanted. Naturally, I picked one that weighed in the neighborhood of 4,000 lbs. It. Was. Massive.
And I loved it so. My dad flipped out the moment he saw it (just like he’s does every year) and told
me I must have gone insane. Streams of holiday profanity spewed from his mouth as he attempted
to drag the beast inside (and my dad is no small fry, mind you). Even after putting it in our custom,
immovable stand, it still refused to stay upright. After much discussion and deliberation, a solution
was reached: lash it to the windows. Seriously. We tied the thing to our bay windows with thick
twine. And we put an eyehook in the ceiling to secure it there as well (don’t worry – it didn’t look
janky because we covered it with a big star!) It still has the distinction of being the most ridiculous
tree we have ever purchased. And the eyehook remains in our ceiling…just in case we ever need it
again.
We pick out our tree in the days immediately following Thanksgiving every year. By the time you
read this, my mom and I will have picked out yet another behemoth to grace our living room. As
you read it, in fact, my dad will probably be standing by, uptight horror etched on his face, as my
cousins drag it through the back door. All the while littering the path with millions of tiny needles,
each one of which he will consider an enemy – a personal affront to his quest for tidiness. He will
immediately reach for the vacuum and yell (as he does every year), “That’s enough Dawn! Next year,
we’re getting a fake one!” And my mom will counter (as she does every year) with “Over my dead
body Floyd!” Ah, the eternal struggle of a Hall family Christmas. Here’s to you and yours! May this
holiday season be everything you want it to be. See you in 2011!
FUN FAKE FOOD FOLLIES
FROM THE PIC FAMILY, BY SARA PIC
M
y mother is from Michigan and as you can probably guess, this had a detrimental
effect on my gastronomic upbringing. Unlike my friends whose mothers were from
New Orleans and who took for granted their turduckens and oyster dressings, my
family’s special holiday food offerings revolved around Cheez Whiz and Cool
Whip. Every year, these were the dishes I hungrily anticipated and considered special since we only
were graced with them at holidays. And every holiday my mother still offers them up and I still
devour them to this day. It’s not fancy, in fact, it’s basically fake food, but it still tastes yummy.
Thanks Mom!
Cheezy Rice
1 box Uncle Ben’s wild rice
1 can cream of celery soup
1 jar Cheez Whiz
1 package frozen broccoli cuts
Cook the rice and broccoli according to package instructions. When finished, add cream of
celery soup and Cheez Whiz and mix well. Enjoy!
Cherry Surprise
1 package vanilla instant pudding
Cool Whip
1 package graham crackers
1 can cherry pie filling
Mix pudding according to instructions and put in fridge to set. When set, mix in two “huge glops”
(about 2 cups) of Cool Whip and stir thoroughly. In a 9” x 9” pan, layer the bottom with graham
crackers. Next layer the pudding/Cool Whip mixture. Another layer of graham crackers and then
another layer of mixture. Top with cherry pie filling. Yum!
CULTURE
KEEP YOUR SHOPPING SANITY
I
BY LEO MCGOVERN
t’s a holiday revelation—New Orleans shoppers will see a number of locally organized
holiday bazaars that serve more than your average mall walker. Even with the insanity of
Black Friday past us, malls and big box stores will be packed through Christmas—and who
wants to deal all those people? I know I don’t, as I appreciate a more leisurely shopping
experience than “let’s have a stampede and the survivor gets a flat-screen.” Several events this
December offer quieter opportunities to the discerning New Orleans shopper—an old favorite of
AG’s, a backyard shop and a crate-digging exercise.
Sharing the same date of December 11th, Avant Garden and the Holiday Crate Dig are not only
opportunities to support local artists and businesses, but occasions where you can snag gifts for
those friends who treasure the little things in life. Set up in a sprawling yard just off Esplanade
Ave., Avant Garden is an indie strip mall Brigadoon, appearing once a year to deal in what those
who still value the printed page are sure to love. Presented by local art/design journal-turned art/
design/mixtape blog Constance, Avant Garden offers everything from paintings to sculptures,
photographs and vintage clothing, as well as books and other inventive items from vendors like
Defend New Orleans, Press Street, Re-Styling, Dirty Coast, Megan Roniger and Miranda Lake.
Later in the day, Soul Sister’s 4th Annual Holiday Crate Dig, held at vinyl haven Domino Sound
Record Shack, is a rare record-lover’s delight. With the Queen of Rare Groove roaming the racks
helping you with selection, you’re sure to go home with a few music-loving names scratched off
your list and perhaps an early present for yourself.
For those who swoon over handmade items like jewelry, clothing and eccentric home decor, the
New Orleans Craft Mafia’s Last Stop Shop serves as a shopping list destroyer, as you’re likely to
find unique, hip gifts for Mama, your Tuesday night trivia partners and even that hard-to-shop-for
niece or nephew who’s into whatever it is kids are into nowadays. It’s the 5th edition of the Last
Stop Shop, and this year the classic mafia dons like art by mags!, Bayou Salvage, Flambeaux
Design Co., green Kangaroo, Miss Malaprop and Unique Products are joined by newer lieutenants
like Eternal Swirl, noempire and the New Storyville. Admission is free, the Big Top provides a
cash bar and the Mafia’s Handmade Holiday Ornament and Tree Raffle benefits art students in the
Recovery School District.
Forget the gift cards to big box stores, get some one-of-a-kind gifts and support local artists and
businesses while you’re at it—sounds to me like a happy holiday season for all involved. —Leo
McGovern
Avant Garden is scheduled for Saturday, December 11th at 2216 Esplanade Ave. from 11am5pm, with a DJ set by Joey Buttons. For a complete vendor list, go to erikbelowsealevel.com/
avant.
DJ Soul Sister’s 4th Annual Holiday Crate Dig will be on Saturday, December 11th at Domino
Sound Record Shack (2557 Bayou Rd.) from 3pm-5pm.
The New Orleans Craft Mafia’s 5th Annual Last Stop Shop will be Thursday, December
16th at the Big Top from 6pm-10pm. For more info and a complete list of vendors, go to
neworleanscraftmafia.com.
SPINACH & ARTICHOKE DIP
I
BY LEO MCGOVERN
t’s a classic and a favorite of mine for years, so I pull this recipe out for Super
Bowls, holidays and other special occasions—it makes a sizeable pots’ worth (eight
people or so), so if you’re cooking for fewer than that feel free to half everything
here.
You’ll need: 2 10oz packs of frozen chopped spinach; 1 stick of butter; 2 cans or jars
of artichoke hearts, chopped and drained; 1 tablespoon of garlic, minced; 3/4 package of
Cajun cooking mix (bell peppers, onions, parsley, etc…); 1 large can of cream of mushroom
soup; 1 pint of whipping cream; 2 cups of Italian bread crumbs; 1 pint of milk; 2 cups of
grated Parmesean cheese; Tony Chachere’s (or your favorite seasoning).
You’ll need a big stock pot (think of when you’re cooking gumbo) and a frying pan.
In the frying pan, empty the chopped spinach and let it cook down before draining it.
In the stock pot, sauté the artichoke hearts, the garlic and the Cajun cooking mix. Add
the drained spinach to the stock pot and let it all sauté together for five to ten minutes.
Now stir in the cream of mushroom soup, the milk, the whipping cream and the bread
crumbs. Keep in mind that everything will thicken as it cooks along, but if you feel the
consistency is a little thin, add some more bread crumbs; if it needs to be thinner, add
some more milk. Add in your Parmesean (you may be tempted to use Romano, but I
advice against it—Romano makes it way too salty, and you’ve got Tony Chachere’s on
the way), and Tony’s to taste. Bring the stock pot to a simmer and let it roll for 15 to 20
minutes, then let it sit for about 15 minutes. You’ll find it thickens during this time, so
keep in mind those techniques to thicken/thin it—you can always add more milk or bread
crumbs if the consistency isn’t to your taste.
It takes a little work to cook, but this always goes over well at parties and you can freeze
it as well!
15
THEATRE
THREEPENNY OPERA PERFORMED ALLWAYS
BY sara pic
D
ennis Monn, Executive Director of the
AllWays Lounge & Theatre, and Cripple
Creek Theatre Company are known for
thinking big and taking risks in their productions. Paired
together, they create an explosive tour de force in Bertolt
Brecht’s 1928 play, Threepenny Opera. If you think you
already know this show, think again. Monn and Cripple
Creek have taken a new translation of this classic German
play, added musicians Walter McClements of Why Are
We Building Such a Big Ship? and Aurora Nealand
of Panorama Jazz Band, and topped it off with a stellar
cast, featuring Ratty Scurvics in his stage debut as the
lead character, the notorious criminal Mack the Knife,
Chris Wecklein and Becky Allen of the comedy cabaret
Hot Stuff!, and Pandora Gastelum of the Mudlark
Pupeteers, among many other talented actors, musicians
and artists. Co-musical director and vocal director Harry
Mayronne, also of Hot Stuff!, helps bring this diverse
group together into a staging of Threepenny Opera that is
unlike any other ever produced in New Orleans. Bringing
new meaning to the term “splash zone,” the audience is
brought into the show itself as it is staged in the “lounge,”
the bar area at the front of the AllWays, rather than the
traditional theater at the back. ANTIGRAVITY sits down
with Harry Mayronne, Chris Wecklein and Becky Allen
to talk about breaking down the so-called “fourth wall”
at the front of the stage which separates the actors from
the audience, government corruption and why sometimes
there just isn’t a “bad guy.”
ANTIGRAVITY: This is a very eclectic cast, with
musician Ratty Scurvics, puppeteer Pandora Gastelum,
bounce dancer Altercation, poet and playwright Moose
Jackson, aerialist and comedic burlesque performer
Ooops the Clown and many others. How has everyone
worked together?
Harry Mayronne: This is my fourth time doing this
show. What’s different about this show from the others
I’ve worked on is that many of the people in this show
come from different worlds. They come from the music
world, from performance art, from opera. But it has been
a challenge to get a continuity with style. For instance,
Altercation at first had vowels but needed consonants. But
then when it comes together with her, it’s like wow, she has
the fire, it’s all there! Everyone has a different background,
but Dennis did a really wonderful job casting the show
because what appeared to be a potentially dysfunctional
unit of people has really blended beautifully.
Chris Wecklein: It is an eclectic group but it works. Not
everyone has theatre or comedy or music background but
it is conducive to what we are doing in the show.
Becky Allen: I play Mrs. Peachum, wife to Mr. Peachum
who controls all the beggars in the city. Our daughter,
Polly, marries the head of the criminals, Mack the Knife,
which really displeases us. He is the worst person on
earth but something about him makes women go weak
in the knees. So many bad things happen to Mack as the
Peachums try to get him hanged but then he gets paroled
in the end. But I like how he says, not all the poor get a
pardon.
HM: Everybody will sell their best friend to their mother
out to survive. It’s about money but not greed, it’s about
necessity and what people are willing to do to survive.
BA: There are poor people with no hope and there is
nothing else they can do. The reason they are wicked is
because they have to be.
CW: Really, there’s no hero. There’s no villain. It’s all
shades of gray, just like society.
This play is almost 100 years old. Why is it still relevant
today?
CW: It’s a social commentary. It shows us how we think
we’ve come so far but in actuality we really haven’t as a
society.
HM: I feel like if Brecht were alive today, he would
be working at the AllWays, he would be living in New
Orleans. The corruption which the show depicts is
universal and timeless but some things are peaking in
New Orleans with so many higher-ups going to prison,
it’s almost frighteningly relevant here right now.
CW: For instance the chief of police and Mack the Knife,
the lead criminal in the show, are best friends, just like
corruption you might see here in New Orleans.
Why is the show in the lounge section of the building
and not in the theater?
CW: Because it is more environmental, it brings the
audience in so they are part of show but doesn’t single
anyone out or make anyone feel uncomfortable. No one
sits on anyone’s laps or gets dragged on stage but you are
still pulled into the play.
BA: Instead of being in a theatre with a fourth wall
watching the show, you feel like you are actually in the
theatre with the actors.
CW: With Brecht there is a fourth wall but it’s broken.
Because then you are not just the character but you are
the person, the actor, you are making a comment to the
audience, it’s kind of like a wink to the audience, like
16
“listen to this, this is how it really is.” It was really inspired
on Dennis’s part to use the lounge rather than the theater.
He is utilizing every bit of that space.
This play is often staged by colleges. Why do this play
here, at this time?
BA: This show is perfect for New Orleans because it is
wild and devilish and has great music.
HM: The show hits people on so many levels. Some
people may think, oh someone finally understands my
life, and some people may just think, oh wow what great
music.
CW: Sound of Music this is not. This is not a happy
musical theatre piece. This is a gritty social commentary
with great music that will make you think. If you’ve
seen it before don’t have preconceived notions. This is a
different new translation and Dennis is taking a different
take on it. It’s very fresh.
HM: Come as you are.
BA: We lived through theatre in the ‘70s and they had
some crazy people in theatre back in those days. It wasn’t
called alternative theatre then, it was just theatre. This
show reminds me of those days.
HM: Every so often there is a precious moment in time
where this show is really right and I think we are in the
middle of that right now.
Threepenny Opera runs at the AllWays Lounge &
Theatre, 2240 St. Claude Ave, from December 2nd
through 12th, Thursdays through Saturdays at 8pm,
Sundays at 6pm. Tickets are $25 and are available at the
box office or online at theallwayslounge.com.
BOOKS
scrapbook from hell:
sean yseult’s i’m in the band: backstage noteS
from the chick in white zombie
BY DAN FOX
F
ull disclaimer: I was never a huge White Zombie
fan. I always respected their sound and agreed with
those two dimwits Beavis and Butthead that they
did indeed rock pretty hard, but I can’t say I ever
owned any records of theirs. However, I have been a fan of
things like the Ramones, David Letterman, Iggy Pop, touring
war stories, awesome show flyers, bedazzled Rickenbacker
basses and other killer gear, Polaroids, art school, ticket stubs,
to-do lists, stories of struggle and redemption, New Orleans,
Los Angeles, New York... all things found, of course, in Sean
Yseult’s I’m in the Band: Backstage Notes from the Chick in
White Zombie (Soft Skull Press). In short, if you love rock
music and everything about it, from the actual music to the
smell of puke-filled stairwells and back-stage pranking, then
you will love this book. Starting from her early childhood
and taking you all the way through the rise and fall of White
Zombie to the present day, where Sean resides in our fair city
and ever-expanding her creative output, I’m in the Band tells
a story in such rich detail and texture, with every anecdote
presented so graphically it’s practically a pop-out book—or
scratch ‘n sniff. I was lucky enough to catch up with Sean at
the chilly end of November, where we walked through the
book and I’ll admit that it was easy to geek out when talking
to someone who played with the Ramones and Eyehategod,
something that speaks volumes about White Zombie’s place
in rock history. So let’s make it official: I’m in the Band is
the official ANTIGRAVITY holiday present recommendation
(and at $23 it’s not going to break your bank). So stick that in
your stocking.
ANTIGRAVITY: It seems like this is being billed as a
coffee table book, but I think that’s wrong. It’s so much
more. How do you feel about that?
Sean Yseult: It’s funny, I feel like I’m running into the same
problems with this book as White Zombie did. People thought
we were too weird to be a metal band and too metal to be an
alternative band. So this book is kind of a hybrid. It started off
for me as a coffee table book because I was just trying to put
together all of my photos and scraps of things, tour diaries,
backstage passes... I was trying to get all of those visuals
together and organize them in some manner. And then I started
writing, describing what you’re looking at and that started
taking over. It’s definitely a hybrid of a coffee table book and
a memoir, I suppose... It has both sides where if you have a
short attention span you can flip to any page and it’s like a little
chapter unto itself. But everything is in order and tells a story.
You get into a lot of personal stuff. Was that difficult for you?
It was very difficult because there were some things I had to
be very tactful about and not actually go into too much. For as
personal as it is I feel like I skimmed over a few things and I
did that intentionally. Basically, to avoid lawsuits! [Laughs]
...There were things I feel like I held back, really, but for the
most part it’s pretty much in the book. There’s been enough
time passed that’s it just kind of like “this is what happened.”
And I’m not proud of all of it and some of it is embarrassing
and silly, but it was of the time and of the era.
How long did it take to put together?
It took me a couple of years; it really did. There was a lot of
physical work, scanning, photographing, arranging things and
once I got through my ten boxes of White Zombie paraphernalia
J [Yuenger] our guitarist (who lives here) mentioned that he
had about ten boxes of things in storage. So, sure enough we
went through every single scrap in his boxes and I found some
things that filled in some blanks. So that was nice.
It’s such a great tome of anything and everything to do
with rock music. I love all the stuff in there!
Thanks, yeah! I do too, that’s why I put it all in there. [Laughs]
I started digging through these boxes and I was like “Man,
there’s a lot of good stuff in here! I want to see it!” Part of it is
just that my father was a writer and he always saved everything
in millions of boxes, so it was in my nature to do that.
It’s not the same anymore. People aren’t going to have
boxes of stuff for much longer.
No, they’re going to have a hard drive that might get erased.
What about Rob Zombie? Did you have any contact with
him? He seems absent from this.
Oh, none at all. He actually hasn’t spoken to any of us since
the band broke up in ’96, so... Well, I guess it was technically
’97, when we had the phone call between the three of us, where
not much was said, except that we were breaking up... I think
we were all ready for a break at that time, anyway... There’s so
many other things all of us wanted to do. There was other music
to make; I wanted to start my design company... [husband]
Chris [Lee] and I, when we first met, started the Saint, which is
something I always wanted to do. It was a lot of fun!
It’s hard not to notice all of the credit you give Beavis and
Butthead in the book.
I hate to say it but it’s true! I mean, really! We were going to
come off the road at 30,000 records being sold, which is a lot
today but back then it was “okay.” Geffen was actually happy;
but once Beavis and Butthead started playing “Thunder Kiss
’65” it was all over. We had to go touring for a couple hundred
thousand more people. Then it just snowballed. I can’t not give
them credit! [Laughs]
I wonder if any more bands will be able to take the path
that White Zombie took. That network is completely
disintegrated. Like you say, “Back before everyone and
their grandmother had a band...”
It’s true! There was literally one or two bands in each town and
you’d go to that town and sleep on their floor and play a gig
with them and move on to the next town and the next band that
you’ve heard of. I can only imagine how many bands exist in
every small town in America right now. There must be millions
of people that have bands that are created on GarageBand and
posted on the internet. They can just push a button and 50,000
people (or more) can hear their song, whereas we had to walk
around and drop off 7”s all over New York City. It was not
so easy to get your name out there. You had to get in a van,
you had to get on the road and go on tour. You had to try to
sell vinyl and get it in stores yourself. I just can’t imagine it
today. I don’t think it could happen again because things are
a lot easier.
White Zombie came into contact with so many great bands,
like the Ramones! How awesome was that?
That’s the thing. How many metal bands toured with the
Ramones or the Cramps or Reverend Horton Heat or Babes
in Toyland? There’s something in my publicity that says I was
the only girl in metal during that whole time. That statement,
of course, is not really true. People mention two others: Lita
Ford and Doro, but I never ran into either one of them. I
Continued on page 23...
For more information on I’m in the Band: Backstage
Notes from the Chick in White Zombie, go to softskull.
com. Signed copies are available at Garden District
Books, 2727 Prytania St.
17
MUSIC
BIG SHOES TO FILL:
STIX DUH CLOWN FOLLOWS
IN FAMILIAR FOOTSTEPS
BY MICHAEL PATRICK WELCH
stix photo by Alleyn Evans
18
MUSIC
W
ay far back deep in Bywater, I stepped
toward the knock at my night-time
door. Behind the window glass’ glare I
discerned a big and tall silhouette. Pushing
aside the thin lace curtain, I was faced with clown makeup
framed in a leather vest, cowboy hat and long braids of hair
down broad shoulders. Upon opening the door, instead of
murdering me as in some obvious child’s nightmare, the
brawny clown handed me an envelope containing his music
and a letter detailing his most earnest descriptions of said
music, packaged together with a single hawk’s feather.
The clown in question-- Stix duh Clown-- is a bit of an
historic holdover from the previous decade, when half the
train-hopping punks visiting the Bywater/Marigny during
festival season self-identified as clowns. But in a sea of
more temporary New Orleans “circus people”-- most of
whom rarely perform many “tricks” outside of sneaking a
tallboy can into a bar-- Stix and his various music combos
have stood out and stuck around. That clown makeup is
tattooed to his face, by the way. Whoa is he who doubteth
Stix’s commitment or intentions.
This January, Stix duh Clown will release his eighth album,
Coming Winds, under his most well-known moniker, My
Graveyard Jaw: the band that first shined local light on oldtimey singer Meschiya Lake. On the all-acoustic Coming
Winds, Stix and his talented band mates swing between soft
folk ballads, gruff porch stomps, even some Charley Danielsstyle fiddle breakdowns. Stix alternates his Tom Waits-meetsJames Hetfield growl with a more soft, sweet, naturally smooth
voice— a sensitive voice complimented perfectly by Denis
Bonis’ backing vocals and lilting fiddle, all of which stand
in contrast to Stix’s intimidating exterior. ANTIGRAVITY
discussed this dichotomy with Stix, as well as New Orleans’
past and present circus culture, his recording session for Tom
Waits, the origins of his tattooed clown makeup and how he
does kick ass sometimes (but he’s really mellow).
It seems like ten years ago you would hear a lot about
the circus in New Orleans. Now, I don’t run into nearly
as many people who self-identify as clowns.
Yeah, before it was clowns left and right. Around that
time we had Know Nothing Zirkus locally and touring
groups like Bindlestiff Family Cirkus; and Jim Rose Circus
freakshow was a big thing. The Yard Dogs are still going.
But overall it’s died down for a bit. We ourselves got really
good, but then I got more focused on music and moved on.
Now it’s coming back up again. Younger kids who’ve seen
and dealt with New Orleans are now a little bit older. A lot
of the people left, or the city beat them and they wanted to
try something else. They still come back for festivals, and I
see others coming back after they’ve cleaned up and gotten
their shit together. It took me a while before it snapped in
my head: ‘Oh this is how you can exist in this city and not
be fucked up.’ I am not really active in the circus anymore,
and that has a lot to do with hearing so many times, “Oh
I hate those Bywater circus people, those clowns, they’re
assholes.” I just wasn’t really into that.
Can you talk about the history of My Graveyard Jaw,
and some of the notable people who’ve participated?
Yes, after 2005 I left New Orleans for a while and we
had a little girl, and during that time I was recording a
lot of songs on the four-track, going in a lot of different
directions. Then we moved back and I made the first My
Graveyard Jaw album, which we never played live; it was
just me on guitar and vocals and Ratty Scurvics playing
organ, cello, keyboard. It was completely different from
what I’m playing now; more melodramatic, and some
epicness [sic]. I had another combination with Ross
Harmon on trash can bass and Patty Melt playing a
suitcase drum kit. We recorded that album and it was the
greatest summer of my entire life. Then everyone went
their separate ways and I started doing it as a one-manband, still calling it My Graveyard Jaw, which really made
no sense. Then a little later it was me, Walt McClements
[Why Are We Building Such a Big Ship?] and Meschiya
Lake [Magnolia Beacon, Little Big Horns].
ANTIGRAVITY: So tell the ANTIGRAVITY audience
what type of music is featured on My Graveyard Jaw’s
new album, Coming Winds?
Stix duh Clown: It goes all over the place sort of, but I’d say
it’s original acoustic country folk blues, with some gypsyass chords and shit. This new album is a lot different than
the last seven My Graveyard Jaw albums, some of which
are more old-timey gypsy blues, while this album has a little
more folk to it.
Can you quickly encapsulate your personal musical
journey up to this point?
I traveled for many, many years hopping trains. I ended up
in Oregon and became a big metal head. I’d already been
turned on to country and folk music; and Neil Young is a
big influence on me. But I love stoner metal—I just don’t
play it. I ended up in New Orleans around 1999. A month
after I got here I had a big blowout with my girlfriend and
she left. So I hooked up with Ratty Scurvics and all these
New Orleans circus people and just went on tour with them
for like four years. After four years, Ratty and I bowed out;
we both wanted to start a band so we grabbed Mary Go
Round (accordion) and Doc Otis (keys) for Streakin Hobo.
That lasted for a year. But yeah, Ratty Scurvics is a really,
really big influence on me and on that whole… I don’t even
know what to call his genre.
The genre played in Bywater? Ratty subverts and avoids
that style nowadays but he helped pioneer that Bywater
circus sort of sound that has like, a twinge of hobo and a
dash of Eastern European something-or-other…
His earlier shit before he moved here, before I joined the
circus-- he had a lot of circus-esque music. When we did
Streakin Hobo it was accordion, upright bass... There was
one Streakin Hobo song where Ratty’s playing the slide and
Stumps the Clown was playing banjo. It had that folkiness.
Stix’ Father, Joseph “Porter” DeCoulode
19
MUSIC
“Since I’m not clowning anymore
it’s like, ‘Yes, I was a clown, here’s
the documentation.’”
My Graveyard Jaw was kind of Meschiya’s liftoff point, no?
She’s gotten pretty popular since.
Meschiya had been doing music with Kyla and she was kind of
going through some rough times, and I was trying to find myself,
and we hooked up and it kind of happened quick and kind of
awesomely and I had a lot of songs that I could hear a more female
voice. Then I pulled Walt in. And that was the first real foundation
for My Graveyard Jaw. Then we had a big blowup and that ended.
But I feel like that kind of picked Meschiya up and helped her get
her personality with the music and where she’s headed now. She’s
come a long fucking way and she’s kicking ass. She doesn’t do that
much with her band Magnolia Beacon but she’s rocking with the
jazz and all that.
So what about the current combo that plays on Coming Winds?
I met Scott Potts, the bass player from Zydepunks. I had gone on tour
with Zydepunks playing guitar, and I’d started opening up the show
with my one-man-band, and Scott started sitting in and when we got
back we just had a band. Then during the recording of this record,
Scott’s girlfriend Denis Bonis, the violinist, jumped in and played
and sang, and my girlfriend Elaine Evans is playing cello too.
Denis Bonis is really like the secret weapon on this record, no?
Oh yeah. She only recently, as we were wrapping up recording the
album, started to sing with me. Now I’m all about it. It was kind of
rough for me to sing with Meschiya; though it came together in the
end, I’d hit wrong notes because I was listening to where she was
going. That doesn’t happen with Denis. I love singing with Denis.
Your voice switches around from gruff to soft almost like
you’re doing different characters. How do you decide which
voice to use?
It’s not characters really; it just depends on the song. A lot of my
music is about my travels and a lot of it is about my friends that
don’t know it’s about them… I guess the more emotionalness [sic]
and the frustration, that’s more the growly voice. That’s just how
I’ve sung forever and, slowly, more softer stuff has started coming
out, due to different influences like Neil Young. That first album I
made with Ratty, a couple people have even told me parts sound
like Flaming Lips, meaning more emotional. If it’s a clear subject, I
sing clear; if it’s frustrating then it’s the raspy voice.
How much does Tom Waits play into that equation? Especially
as he’s like the patron saint of Bywater music.
I get that a lot. And I really love Tom Waits. But I don’t feel I really
sound like him, not if you listen to like Louis Prima and Howling
Wolf and Louis Armstrong. My girlfriend says it’s just a way people
can relate to the music but for a while [the Waits comparison]
bummed me out. I’m not really bummed about it anymore. I do love
him. And actually I recently got to sing on his record. He picked
three songs for that Preservation Hall thing. Clint Maedgen called
me up to be part of this big group to sing this call and response thing
on “Shanandoa.” I thought Waits was gonna be there but he wasn’t.
Meschiya actually met him though, recorded on his actual album; his
record label paid her to sing on two songs. The two people I’d like
to meet in this life before I go would be Neil Young and Tom Waits.
Sorry this doesn’t have much to do with music, but tell us how
you decided to have the clown makeup tattooed to your face.
It was my first year circus tour. Halfway through the tour I got my
face tattooed. My friend Nostril Dumbass, who was on tour, too,
had his face tattooed also. I was just really sucked into the circus,
and was just loving this group of people and I was like, ‘I am going
20
to do this forever!’
Even weirder though, after I did it we were coming back through
California where my family lives, and I hadn’t seen them for years
because I was traveling. I really didn’t know much about my dad
or his past at all, though; he was in and out of our lives. But he
wasn’t doing well, my family were taking care of him, and we
were cruising through Sacramento on our way to a show in San
Francisco, so we stopped to see them. We pull up and as all these
clowns are jumping out of the truck, my dad sees me and is standing
there with his cane, crying. He’s happy to see me but once we’re
in the house he immediately pulls me aside and says, “I need you
to come into this room; there are some things I have to tell you.”
And he pulled out all of these photos and he’s like, “I used to be
a clown. I used to hop trains. I lived in New Orleans.” And all my
friends are hearing this and he’s showing us these pictures. He was
a hobo clown too, and I didn’t know any of this. He’d had a really
bad childhood and ran away when he was like 10. It would always
drive me crazy when my mom would say I was going to end up like
my dad because I didn’t really know him. So I didn’t know that I
was completely following in his footsteps.
That’s amazing. In what other ways does having the permanent
makeup affect your life? Or what if you want to leave New
Orleans some day?
Some people dig it and some people are really offended—like I’m
their child, like they’re never going to speak to me again. Some
people trip the fuck out. I like people to think it’s makeup cause
it’s faded; I like them to question. People touch my face like they
just don’t believe me. A lot of times people are like, “Why did you
do that to your face? How are you ever going to get a job?” It took
my mom a while but now she loves it. I just see it as something
that wasn’t there that needed to be. I’m not even doing circus stuff
anymore, I’m more focused on the music. Since I’m not clowning
anymore it’s like, ‘Yes I was a clown, here’s the documentation.’
A lot of times I forget it’s even there. I don’t worry about if I leave
New Orleans; I don’t wonder how it’s going to affect me. I work
in a kitchen three days a week. There was a period where I was
busking to support myself; I do construction. There are so many
people down here with facial tattoos that have jobs.
I would think that, looking at you, people would think you were
going to kick their ass.
I get that a lot. I will kick some ass, but I am mellow. I look scary to
a lot of people but…they get pretty bugged out when they find out
I have a little daughter!
That is especially funny since your music on this album
especially is very personal and sensitive.
Yeah, it takes people crossing my path a few times before they accept,
‘Oh you’re not some fucking gutterpunk or some stupid circus kid or
some really mean guy who just wants to beat people up.’
Life must be extra hard for you these days though, with the
Insane Clown Posse.
Oh god dude [Laughs] I get that so much. “Dude do you love ICP?!”
And I have to tell them “No, no.” They’re so excited about it, and
then they’re like, “You don’t like them?” No, no.
Stix duh Clown’s band My Graveyard Jaw celebrates the release
of its new album Coming Winds, as well as the release of a brand
new album by co-headliners Country Fried, on January 8th at
One Eyed Jacks. For more information, go to myspace.com/
stixduclown
REVIEWS
BRIAN ENO
SMALL CRAFT ON A MILK SEA
(WARP)
Over the past four decades, Brian Eno
has remained the most prolific and
important musician in the Western
world. His catalog is massive to
say the least--- with dozens of solo
albums, countless production efforts, experimental collaborative
improvisational works and work for companies such as
Microsoft and Windows (the classic Windows opening sound
is his)--- and his influence can be heard in nearly every genre
that has popped up over the past thirty-five years. As of late
however, Eno has been relatively quiet with respect to his own
output, opting instead to work as a producer, with his only new
musical offering being his brilliant 2008 effort with David
Byrne, entitled Everything That Happens Will Happen Today.
Small Craft on a Milk Sea, is therefore a big deal. While many
had hoped that the new record may be a return to his Warm
Jets/ Tiger Mountain output, in which he sang and worked as a
‘non-musician’/producer amongst a plethora of guest musicians,
Small Craft is more akin to his past instrumental or soundtrack
work. This by no means makes the effort any less exciting, as
it is finally a new, proper solo record from the godfather of
electronic music. Recorded over the past fifteen months with Leo
Abrahams and Jon Hopkins, Small Craft is entirely instrumental,
wonderfully coherent, ethereal and fierce in equal measure and,
as a whole, dazzling. The album opens gently with instantly
recognizable keyboard treatments buoying and vitalizing the
notes on “Emerald and Lime,” and leads beautifully into the
restrained intricacy of “Complex Heaven.” The minimalism
and delicacy continues on the next track until, for the first time,
Eno opens the floodgates with the percussive-heavy, paranoia of
“Flint March.” This track is an immediate reminder that although
Eno is getting older, he has by no means lost his edge. The next
two tracks (the album’s two highlight cuts for me) crank up
the intensity further still, with the brooding claustrophobia of
“Horse,” followed by the outstanding, kraut-ish boilermaker of
“2 Forms of Anger.” The musical tide ebbs and flows thereafter,
with two tracks (“Dust Shuffle” and “Paleosonic”) acting as
propulsive, up-tempo numbers, two tracks (“Calcium Needles”
and “Slow Ice, Slow Moon”) working as lurching, thoughtful
nocturnals and the remaining songs harping back to the openers’
expanse and beauty. Small Craft finds Eno doing exactly what he
does best – challenging, charming and inspiring. It is yet another
masterstroke from a man we can all be comfortable calling a true
living genius. –Dan Mitchell
BRYAN FERRY
OLYMPIA
(VIRGIN)
I approached Olympia with a reserved
anticipation. As a fan, Roxy Music has
always been an elusive thing, carrying
a fair amount of weight, but always
just on the periphery of my listening
habits. With the reunion of various members of the band and
a few positive notices, I thought that Olympia might be a good
jumping-on point for Bryan Ferry’s solo career. What I found
is a record of highs and lows, at times making maximum use of
Ferry’s iconic warble and midnight serenade aesthetics and at
others falling over the typical tripwires in the catalogues of rock
n’ roll elder statesmen. There’s a production sheen that plagues
many albums of established rockers, a bland meh-mix of funky
bass and glossy guitar that usually serves to dull the records to
my sensibilities and Olympia is guilty of this. At times, such as on
the slinky, sensual “Alphaville” or the arch drama of “Heartache
By Numbers,” the songs are allowed to flourish in their AOR
environments. “Heartache” is especially affecting, building to its
choral climax on a marching bed of bass and synth percussion.
Its bare emotion and overwhelming sound just makes the rest of
the album seem tame or boring by comparison. Glinting strings,
clean bass lines and shiny guitars fill up Olympia’s runtime and
though some tracks attempt to shed their shackles, (the icy disco
of “Shameless,”) nothing stands out the way those earlier tracks
do. Olympia is a typical “return to form” record. Close enough
to Ferry’s classic work to elicit some good will, but upon closer
inspection a moderate letdown. –Mike Rodgers
CEE LO GREEN
THE LADY KILLER
(ELEKTRA)
Cee Lo Green is a man of many
flavors. Getting his start with Atlanta
hip-hop outfit Goodie Mob, he went
on to record two freak-pop albums
with Danger Mouse under the moniker
Gnarls Barkley, the first of which produced his biggest hit to
date, “Crazy.” The Lady Killer is Green’s third solo effort and a
resounding success on most fronts. Launched by the late summer
leak of the infectious single (and its outstanding companion
video) “Fuck You!” The Lady Killer is a rooted mix of soul and
classic R&B sound, topped with that signature Cee Lo twist. The
album opens with The Lady Killer introducing himself to the
tune of tinkling piano keys that cascade into a James Bond-esque
chorus of “oooo”s. “Bright Lights Bigger City” is a dramatic
track with epic synthesizer crests and falls. The aforementioned
“Fuck You!” (you may have heard its neutered cousin “Forget
You!” on the radio) is purely and simply canned perfection.
It strikes an ideal balance between anthemic and quirky. It’s
vintage Motown sound…with a potty mouth. “Wildflower”
follows and is a low-key jam in which Cee Lo invites his
“wonderful wildflower” to “open up let me see.” I’m not sure
that line would work on an actual woman, but he somehow
makes it charming. “Bodies” continues Cee Lo’s grand tradition
of writing creepy songs about sexing up dead girls (see: Gnarls
Barkley’s “Necromancer”) as he revisits the double meaning of
a “body in my bed.” “Love Gun” is a nice upbeat track featuring
the guest vocals of Lauren Bennett, a British songstress who
was once a member of Paradiso Girls, a Pussycat Dolls-esque
girl group. Don’t let that turn you off though, as her vocals are
intriguingly muscular and slinky. The rest of the album passes
in much the same low-key soul fashion (including guest vocals
from Earth, Wind & Fire’s Philip Bailey on “Fool For You”),
which is smart because it’s a sound almost everyone loves; it’s
relatable and he does it well. There are hints of big horns and the
“wall of sound” feel, but he could have pushed it further in my
opinion. There was room to go a bit bigger, a bit bolder. Overall,
it’s a thoroughly enjoyable album with some standout tracks and
one undeniable instant classic. –Erin Hall
DOWN
DIARY OF A MAD BAND
(DOWN RECORDS)
The allure of most live metal records is
somehow capturing the raw power that
bands exhibit in concert that’s usually
lost when they cut a studio album.
With a band like Down, whose second
album especially was as raw and gnarled a piece of metal as any
record, the live performance doesn’t really add or subtract from
anything. The band is tight as hell. Pepper and Kirk hit each
massive chord with ferocity, letting the sludge-caked guitars
snarl and roar. The mix is a bit muddled at times, but Rex’s bass
usually powers through the haze, thudding and popping like a
slab of stone alongside Jimmy Bower’s drums. Honestly, the
weak link of Diary of a Mad Band is Phil Anselmo’s vocals.
Coming off a well-documented addiction to opiates, Anselmo
hadn’t yet found his voice. His low-end growls are powerful,
but in the moments were Phil has to croon, his voice wavers. By
the time the band had record Over the Under, he had regained
much of his vocal talent, but sadly none of that material made it
on Diary and his strengths as a frontman were still shaky. The
real highlight for him is his stage banter; oftentimes boneheaded,
ridiculous or strange, it’s nevertheless always sincere and
when he makes a connection with the crowd, you can feel his
enthusiasm. I doubt anyone’s going to prefer these versions of
classic Down songs like “Lysergic Funeral Procession” or “Stone
the Crow” to their album counterparts, but Diary of a Mad Band
is a solid and raucous, if ultimately inessential, record. Consider
it a treat for the hardcore fans. –Mike Rodgers
GAMES
THAT WE CAN PLAY
(HIPPOS IN TANKS)
Believe the hype, Games is on
fire y’all! Hot on the heels of their
Hippos In Tanks 45 (featuring the
tracks “Everything Is Working” and
“Heartlands”), Daniel Lopatin (aka
Oneohtrix Point Never) and Joel Ford (of Tigercity) have
created a nostalgic type of music with progressive elements that
tugs on the heartstrings of twenty-somethings and reaches into
the future of electronic music. To those who have not had the
privilege of hearing Lopatin’s brand of static production, Tango
In The Night/tropicalia aesthetic, and synthesizer wizardry, there
is a glitchy sampling motif and “old meets new” sound that has
been featured on various 45s, LPs and cassettes for the past year
or two. That We Can Play is Games’ first LP under this title
(look for Lopatin’s hi fidelity material on Editions Mego), and
highlights include the songs “Midi Drift” and “Planet Part.”
Both tracks contrast one another – the former is a foray into
contemporary technology and themes and the latter is something
MUSIC REVIEWS SPONSORED BY THE OFFICIAL RECORD STORE OF ANTIGRAVITY
21
REVIEWS
conjured from the synths and drum machines of the ‘80s. Enjoy
the Strawberry Skies (featuring Laurel Halo on vocals) reprise,
which features a remix by Gatekeeper, who has worked with
both Feist and Blip/Vansan. Expect to hear more from the many
projects of Lopatin and his many creative cohorts. –Emily Elhaj
GOLD PANDA
LUCKY SHINER
(GHOSTLY INTERNATIONAL)
2010 has been a year that has seen
numerous electronic artists release
stunning albums (Four Tet, Caribou
and Emeralds), and while the year is
almost over, it is not too late to add
one more stunner to the list. The newest addition at hand is the
debut full-length from UK producer Gold Panda, entitled Lucky
Shiner. At heart, Gold Panda’s style is akin to the sample-heavy
offerings from Kieran Hebden, a.k.a. Four Tet, that we all know
and love, but Gold Panda is hardly a rip-off artist. Over the course
of Shiner, we hear a fully realized artist in action with a singular
vision. The beauty of Panda’s work is that he has constructed his
own style through the use of short snippets of sound, repeated
almost endlessly (and often dizzily and dreamily), coupled with
a certain infatuation and ear for Eastern sounds and instruments
unfamiliar to the average Western listener. When you add the
fact that Panda also possesses a wonderful sense of beat to the
mix, you are left with a distinctive and exciting new artist on
the electronic scene. His song range is immense--- from hiphop influenced head-nodders (“You”) to convulsive, keyboardpeppered builders (“Vanilla Minus), from a spacious and
intricately layered jaunt inside the Indian musical psyche (“India
Lately”) into Warp-sounding glitch (“Before We Talked”)--- yet
his ability to tie the disparate styles into one cohesive statement
is what truly makes Shiner the achievement that it is. It is an
album that cannot possibly be digested in one sitting because it
provides new, previously unheard sonic morsels every spin, after
even three or four-dozen listens. There are not many artists that
can lay claim to this, especially in electronic music, and this is
why Gold Panda is an artist absolutely worth checking out. –Dan
Mitchell
KANYE WEST
MY BEAUTIFUL DARK
TWISTED FANTASY
(DEF JAM / ROCK-A-FELLA)
Kanye West is the most polarizing
artist in pop music today – it is not
a matter of liking him or disliking
him, it is a matter of loving or hating
him, and the camps seem split right down the middle. Those
that hate do so because of his larger-than-life ego and his
unchecked bravado, his dickheadery in the public arena and his
unending chart success. Those that love him do so because of his
unflinching artistic self-assurance and his unrestrained audacity,
but also for his unquestionably superb production ear and his
nearly inhuman work ethic, drive and dedication to his vision.
The dichotomy is so similar that there is almost no difference at
all between the sides – those that hate him fuel his fire to be the
best and those that love him justify his maniacal perfectionism
and in this respect, we live in West’s world. My Beautiful Dark
Twisted Fantasy, West’s fifth full-length release to date, is a
truly astonishing window into West’s world in that it is his most
honest and upfront offering, and comes at the conclusion of a
year ruled largely by rap music. With many promising artists
emerging within the genre (Freddie Gibbs, Die Antwoord,
Big K.R.I.T., Odd Future and Das Racist), other older artists
stepping up into their rightful limelight (Curren$y, Shabazz
Palaces) and central icons releasing complete garbage (Bun B,
Eminem, Lil’ Wayne), rap and hip-hop has been perhaps the
most exciting venue for music this year. Nonetheless, amidst
all of this excitement within the genre, no album could possibly
be designated instantly classic. Except, that is, until now. While
MBDTF is not perfect--- West is not the strongest or most
thoughtful lyricist to be sure--- it is his ability to encourage
strong performances from those contributing to his work and his
knack for employing appropriate, tasteful and left-field samples
that pull him apart from the pack and find him channeling both
Eno and Albarn in this respect. From the hymnotic, heartening
opening cut “Dark Fantasy,” through the dance-y, skeptical,
22
Gil Scott-Heron sampling of “Lost in the World,” to the
guitar-driven, agitated and accusatory “Gorgeous” and into the
overblown, expansive menace of the single “Monster,” West
succeeds at just about every turn on MBDTF. Love him or hate
him, after spending enough time with this behemoth of a rap
record, you will be hard-pressed to deny West’s ingenuity here
– it simply is a classic. –Dan Mitchell
norah jones
...featuring norah jones
(emi)
One of the most accessible and
successful mainstream female vocalists
of the last decade, Norah Jones is a force
of nature. The daughter of Indian sitar
legend Ravi Shankar, she has released
four popular solo albums in the last eight years, simultaneously
entertaining the masses and impressing the critics – a nearly
impossible balance to strike. Her latest release is a compilation
album showcasing her many duets and collaborations with other
artists ranging from hip-hop to country to classical jazz. Songs
from her side projects are also featured (The Little Willies open
the album with a stunning cover of Elvis Presley’s “Love Me”
and El Madmo brings a dusty rock vibe with “The Best Part”).
At eighteen tracks long, it’s impossible to write even just a bit
about each one and stay within my word count, so I’ll roll the
highlight reel. Jones has always listed Willie Nelson as her idol
and she’s had the chance to work with him numerous times. The
duet featured here is “Baby It’s Cold Outside,” which appeared
on Jones’ last studio album, The Fall and was nominated for
a Grammy for Best Pop Collaboration with Vocals. It’s tender
and homey and would be a great fit for any holiday party mix.
Jones recorded the smoky ballad “Here We Go Again” with Ray
Charles right before his death in 2004. It was released on his final
album Genius Loves Company and won two Grammy awards in
2005 for Best Pop Collaboration with Vocals and Record of the
Year. “Little Lou, Ugly Jack, Prophet John” was featured on the
recently released Belle and Sebastian Write About Love (which
I reviewed last month and noted this song as one of the only real
bright spots). “Take Off Your Cool” sees Jones stepping in with
Outkast for a rich acoustic soul trip while “Soon The New Day”
has her dripping a dulcet chorus over Talib Kwali’s quick-witted
rhymes. “Ruler of My Heart” pairs Jones with Robert Randolph
on vocals, backed up by our own Dirty Dozen Brass Brand. Most
of the tracks see Jones guesting with male musicians, but one
of the strongest showings is her duet with country legend Dolly
Parton on “Creepin’ In,” a genuine, warm, barefoot run through
the woods. I could keep going, but I’ve more than run out of
space. It’s safe to say you don’t often find a musician who is
as popular as she is talented, but Jones is a rare one. If you’ve
enjoyed her work thus far, you’ll love …Featuring. –Erin Hall
ROYAL BATHS
LITANIES
(WOODSIST)
There’s an overriding ramshackle
quality to the music on Litanies,
a grungy disconnect between the
instruments, the mixing board, your
speakers and your ears and all kinds of
shit sneaks its way into the space between those gaps. Every
crackle, pop or hiss adds to the grimy character of Royal Baths’
music. Everyone knows how the ‘60s were such an amazing
time, but what Boomers are less likely to fess up to is how truly
fucked much of it was. And it’s in that realm of bad acid and
Spahn Ranch squalor that Royal Baths set up their brand of
dark psychedelia. Litanies is built from the dirt up by the bass.
The plodding bass lines ebb and flow in a dim drone, coating
the record in a depressive shell. The guitars then pierce their
way out of that darkness like little jabs of speed-fueled white
light. Forget about chunky pop riffs, these chords snarl in trebly
reverb, bursting out in staccato yelps or growling in long, droning
wheezes. The unmistakable scent of The Velvet Underground is
all over the album. Record opener “After Death” lets a tribal
drum beat anchor haunted vocals until a shrill, nasty riff burns
out a hole where the chorus could have been. The artfully bleak
“Needle and Thread” winds ever inward, letting blood-curdling
waves of feedback circle endlessly while the rhythms whirlpool
and the vocals spit in breathless bursts. This is dark music, a
raw, filthy, organic version of psychedelia that’s a far cry from
the whimsy and bright electronic version indie rock has grown
so comfortable with. There’s a back door, dirty basement, burnt
spoon and old sweat feel to Litanies, a sense of loose menace
that music doesn’t evoke much, or so beautifully, these days.
–Mike Rodgers
SQUAREPUSHER
SHOBALEADER ONE —
D’DEMONSTRATOR
(WARP)
Robo Funk. That’s the only way I can
describe the sound of Shobaleader One,
the newest record from former shizotechno mastermind Squarepusher.
Shobaleader is a far cry from the spastic IDM Squarepusher was
once heavily steeped in. Gone are the trebly clicks and heartstoppingly high bpms. In their stead are smoothed out grooves
and spacey bass lines that hum like high wires and moan like
crooning machines. Shobaleader owes more than a little debt
to Daft Punk and the French house sound they helped to codify.
From the vocoder-filtered robo vocals to the transmogrification
of throwaway music (in this case, light jazz as opposed to Daft
Punk’s Discovery which used soft rock). The similarities are
undeniable, right down to the album’s cover which finds Tom
Jenkinson draped in robes with a video screen visage – Daft Punk
by way of Sunn O))). But what of the music? Well, it’s a fairly
mixed bag. Some tracks meander and get bogged down like the
bored crawl of “Into the Blue.” A few tricky bass plucks can’t
save the track from running in place. Other songs, such as the
space age, spazzy robot-rock of “Megazine,” capture something
fun, layering wonky warbled vocals over a 4x4 beat and churning
organ; it’s the kind of energy that’s missing on other sections
of the record. Most of the album middles around in the kind of
new romanticism that so many French techno artists parlay in, a
sound that doesn’t do much for the Squarepusher catalogue. As
an experiment, Shobaleader One is an interesting diversion, but
as a record, it’s a middling experience. –Mike Rodgers
SUFJAN STEVENS
THE AGE OF ADZ
(ASTHMATIC KITTY)
While we all sat around taking bets on
which state Sufjan Stevens was going
to write intricate ballads about next,
he was busy deep in a lab somewhere
preparing
something
completely
unexpected. At its essence, The Age of Adz is exactly like
any Sufjan Stevens record: the songs build up from the solid,
emotive base of his gentle voice, adding layer after layer of
instrumentation until the trite songs blossom into widescreen
epics. The difference here is the building blocks that Stevens
uses: computer blips, electro burps, 808 claps and an ocean of
synthetic sounds envelopes the orchestral elements and menace
the soft voice at the center of it all. It’s jarring hearing the
folky artist cut up his melodies into near neo hip-hop breaks or
counterweight soaring string arrangements with drum machine
hammers and squelching laptops. The title track lumbers on an
industrial orchestra like something from Metropolis, and the
harried “Get Real Get Right” fuses thudding bass bumps and a
parade of choral voices into something simultaneously grounded
and spacey. Though for all its very strange embellishments, the
record maintains all the elements that make a Sufjan Stevens
album great. The songs never lose their hold on great melodies or
hooks and of all indie rock songwriters, Stevens shines brightest
as a composer of larger-than-life pieces. It’s also worth noting
Stevens’ continued faith in the album format. From its thematic
coherence right down to the record’s art, The Age of Adz demands
to be listened to thoroughly, not in thirty-second snippets over
tinny speakers. Consider the record a melding of tradition and
futurism, eschewing the sprawling tracklist of Illinois for a tight
collection of powerful songs, shredding the pastoral moments
with a biting guitar lick or digital scream, but never losing track
of the inherent beauty of Sufjan Stevens’ songwriting – only
augmenting its openhearted sincerity with a current of detached
cool or mistrust. The Age of Adz is a marvel and one of the most
invigorating records of the year. –Mike Rodgers
REVIEWS
TYLER, THE CREATOR
BASTARD MIXTAPE
(INDEPENDENT)
Tyler, the Creator is a founding
member of the largely teenage,
unrepentantly
irreverent,
selfproduced, Los Angeles-based, tenperson hip- hop collective called
Odd Future Wolf Gang Kill Them All, or OFWGKTA for
short. On his debut mixtape, appropriately called Bastard,
Tyler displays his left field, impious, violent and politically
incorrect style with stunning ease, as if he were a seasoned
veteran. And with a voice that sounds more like a thirty-five
year-old lifetime smoker than the seventeen year-old kid he
was at the time of the bulk of the recording in 2009. Over
the course of the mixtape, Tyler touches on many of his selfprofessed favorite things (rape, hatred of his absent father,
more rape, drinking beer, snorting coke, seditious torture and
so on) repeatedly and does so with such skill that the listener
cannot deny that Tyler’s version of fun may, in fact, not be
so bad after all. Tyler and the rest of the OFWGKTA crew
specialize in the kind of shock and offense that immediately
reminds one of listening to the Wu-Tang Clan’s debut, 36
Chambers. In fact, that classic record is perhaps the best
reference point when listening to Bastard or OFWGKTA’s
other releases. Where Wu-Tang hailed from New York in the
early ‘90s and spoke to a generation of inner-city dwellers
disenfranchised with their situation, so too does OFWGKTA
speak to a new generation of disenfranchised youth from
the other coast. And, just as Wu-Tang’s contempt for their
Intimate Stranger, Continued from page 5...
already had a mountain of songs. In 2007 we changed the name
to Intimate Stranger. Before that it was Gato Gordo (fat cat), and
that same year we went to live in London.
So you recorded your first album in Chile and in London?
Yeah, we recorded in Chile at this no-name studio our friend set
up. It was a very shapeless recording. We recorded the guitars first,
with voice, and then drums last. Then we went back and re-recorded
everything because it sounded so weird! (Laughs) Mogles [Mauricio
Munoz] our drummer, played on that as an invited musician. In
London, we went over some drum stuff and used MIDI.
How’d you meet Mogles?
Mogles and I have been friends since school, eighth grade. We
played together in Disturbio Menor and Don Fango. Ismael
[Palma] arrived because he heard we were looking for a keyboard
player. That was in 2009.
Wow, so he got there right before you recorded the new
album, Under. Tell me about that recording.
Well, Under was recorded totally different from Lifejacket. It’s
live, in a studio in Santiago, and all the effects and sounds were
also done live. That’s why it has a more organic sound. Gluten free!
[Laughs] Yeah, this album, we released it for South by Southwest
2010, at the Chilean band showcase at Waterloo Records.
And that was just in time for the Earthquake in Chile!
Yeah! When we took the plane to the States there was no airport!
Just a little tent!
Did anything happen to your family or anything?
Mmm, no... The power and water went out for days, but nothing
bad happened to any of us.
So now the band has actually moved to Austin, how’d that
come about?
Well, we like to travel, and plus it’s a good country to play. We
also came for SXSW, and we have some family and friends. It
was like the sixth time we’ve come here; Austin is very pretty,
we like it. Santiago is not that pretty! [Laughs] It (Austin) is a lot
smaller, and you can see lots of bands, lots of culture. Although,
Santiago now has changed a bunch; it’s more interesting now,
too. There’s more movement, and good places for music.
situation manifested itself in a unique form of mockery,
brutality and obscenity, Tyler and crew specialize in much
the same. If you are a fan of hip-hop and you have not heard
Tyler, the Creator, MellowHype or any of the rest of the Odd
Future collective, you must immediately find a computer and
download these albums. With Bastard in particular standing
as a downright triumph, you will only need a few listens
before you agree completely, as I do, with Tyler when he spits
the line of the album on the song “French!”: “Go ahead, admit
faggot, this shit is tighter than butt rape.” These guys floor
me because given their age and what they have accomplished
thus far, it looks like the sky is the limit for these kids in the
future. –Dan Mitchell
WAKA FLOCKA FLAME
FLOCKAVELI
(WARNER BROS. / ASYLUM)
The world of gangster rap these
days typically falls into two camps.
One faction rides on the skill of the
lyricist, whose verbiage takes center
stage and whose tales explicate life
on the streets as seen through their own eyes--- ‘this is who I
am, what I do, why I do it, etc…’ Then there is the gangster
producer’s realm, where the music embodies the artist’s
experience through sound, presenting a life through music and
beats, with the lyricist taking back seat to the music and acting
as a hype-man of sorts for the producer. The best of gangster
rap, however, melds the camps effortlessly, with the lyricist
and producer working together as a unit and Waka Flocka
Flame, an Atlanta understudy of Gucci Mane, with his debut
full-length, Flockaveli, produced by Lex Luger, is an example
of what we may consider the best of gangster rap. The album
presents a lyricist in Flocka whose relationship with the beats
is undeniable and a producer in Luger whose understanding
of Flocka’s stylistic tics and hook-driven declarations is
masterful and complementary throughout. While Flockaveli
is a great debut record, it is far from perfect – it runs too
long, does not possess enough variation in subject matter
and curiously does not feature Gucci Mane on a single track.
But, these minor shortcomings are easy to reconcile because
the highlight tracks are so strong and frequent throughout.
Starting off with the introductory ferocity of “Bustin’ At
‘Em,” where Flocka and Luger announce their presence with
rapid-fire gun samples, Bounce propulsion and Flocka’s
mantra--- “Shoot first, ask questions last/ That’s how these
so called gangsters last, Waka Flocka Flame”--- the album
races forth unrelentingly with one club-banger after another.
While many tracks stand out, a few truly kill it, including the
aforementioned opener, the guest-laden, downright ominous,
organ-enlivened crunch of “TTG (Trained To Go),” the drug
dealing anthem of “O Let’s Do It” and the suave first single
“No Hands.” Waka Flocka Flame, a name taken from the
supposed sound of an AK-47 being fired, may not be the most
insightful or variegated rapper alive, but his debut album can
certainly be called a success. –Dan Mitchell
What kind of work do you do outside of the band?
I’m a freelance photographer, mostly publicity photos. In the band,
we all work freelance, so that gives us the ability to move around
or change countries, for example! Tessie is a Futures Researcher.
Kim and Thurston at All Tomorrow’s Parties in upstate New York
and they still kind of turned their head the other way! [Laughs]
So strange! I thought I was imagining it but enough other people
pointed it out... I don’t know, maybe it was our imagination.
What is that?
It’s some weird shit, she does projections of marketing and
culture for organizations that want to know what will happen in
the future with some product or art.
So ironic because both bands straddle a lot of different
sounds and aesthetics, and have strong visual components.
You both didn’t fit squarely into any genre.
Yeah, I think so. And to be honest, when we started getting offers
from major labels, we went with Geffen because they had just
signed Sonic Youth and Nirvana and that seemed like a pretty
open-minded, good kind of home to be at.
You mean like she knows when the world will end?
[Laughs] No.
Intimate Stranger and the Lovey Dovies play a late show
(starting at 11:00) at the Marigny Theatre (behind the AllWays
Lounge) on December 10th. For more information, go to
intimatestrangermusic.com.
Sean Yseult, Continued from page 17...
would’ve loved to. It was definitely all dudes, all the tours I ever
did. And then some people mention L7 and Hole and Babes in
Toyland. I’m sorry; those bands did not tour on the metal circuit
like White Zombie did! And once we got big enough we did
take Babes in Toyland out along with Reverend Horton Heat and
Kyuss. And that was just a blast. I was really in heaven at that
point because those were bands I really like. Nothing against the
metal bands we toured with, but I grew up more into punk bands.
My holy trinity is Motorhead, Ramones and Cramps. So, to get
to play with those bands, meet them and hang out: just mindblowing. That’s more my speed. [Laughs]
I couldn’t help but notice that White Zombie and Sonic
Youth share a lot of similar story lines and themes. Did you
ever cross paths with them?
All the time. We lived in the East Village; they seemed to pretend
like they didn’t notice our existence and they actually kind of
dissed us along with Pussy Galore and some other bands, saying
that all of us in the East Village were copying them, which we
thought was hilarious because we were not trying to copy Sonic
Youth at all. We were a little influenced by the Swans but not
Sonic Youth. And we played with every other kind of art-noise
band in the East Village, except for Sonic Youth. We played with
Pussy Galore, Honeymoon Killers, the Swans... there were a lot
and they all lived within a five-to-ten block radius, so we’d see
each other in the streets every day. It’s funny; I actually just saw
One band that you toured with was Eyehategod. How did
you hook up with them?
Yeah, I’m a huge fan of Eyehategod. We toured with them a few
times. One was our first headlining tour, for La Sexorcisto. The
label had paired us up with some band that actually paid to get
on the tour. We didn’t know who they were and once the tour
started we were just like “Ugh, this is god awful.” It was some
major label bullshit. We basically [decided] we were going to kick
them off the tour. But the rest of the band was like “Well If we
kick them off the tour who’re we going to get?” We had started
in L.A. and we were almost to Texas. And I said “I know a great
band out of New Orleans: Eyehategod. That’s who we can get.”
And somehow, somebody made a phone call and they said yes
and we kicked that band off after five gigs. And I’ll never forget;
Eyehategod met us in Texas. It was either Houston or Dallas but
the club would not put their name on the marquee, of course. And
we had a great tour; they filled in for the next few weeks. It was
fantastic touring with them back then. I’ve been friends with them
ever since. Our very last, final tour was the summer of ’96. We did
an insanely long tour with Pantera, with Eyehategod as the opener.
That was so much fun; I watched them every night. I had a black
wig I’d put on and go in the audience so I could watch them and
not get recognized. They’re fucking funny guys!
Any holiday plans?
Actually, I think we’re going to stay right here in New Orleans
and just enjoy our fair city. I’ve heard of a few things going on: a
party at the Saint, drunken Christmas caroling, bar tour uptown...
we’re going to do as many good events as we can find.
For more information, go to softskull.com. Signed copies are
available at Garden District Books, 2727 Prytania street.
23
EVENTS
N.O. VENUES
All-Ways Lounge/Marigny Theatre, 2240 St. Claude Ave., (504) 218-5778, marignytheatre.org
Banks St. Bar And Grill, 4401 Banks St., (504) 486-0258, www.banksstreetbar.com
Barrister’s Art Gallery, 2331 St. Claude Ave.
Bayou Park Bar, 542 S. Jeff. Davis Pkwy.
The Big Top, 1638 Clio St., (504) 569-2700, www.3ringcircusproductions.com
The Blue Nile, 534 Frenchmen St., (504) 948-2583
Broadmoor House, 4127 Walmsley, (504) 821-2434
Carrollton Station, 8140 Willow St., (504) 865-9190, www.carrolltonstation.com
Checkpoint Charlie’s, 501 Esplanade Ave., (504) 947-0979
Chickie Wah Wah, 2828 Canal Street (504) 304-4714, www.chickiewahwah.com
Circle Bar, 1032 St. Charles Ave., (504) 588-2616, www.circlebar.net
Club 300, 300 Decatur Street, www.neworleansjazzbistro.com
The Country Club, 634 Louisa St., (504) 945-0742, www.countryclubneworleans.com
d.b.a., 618 Frenchmen St., (504) 942-373, www.drinkgoodstuff.com/no
Der Rathskeller (Tulane’s Campus), McAlister Dr., http://wtul.fm
Dragon’s Den, 435 Esplanade Ave., http://myspace.com/dragonsdennola
Eldon’s House, 3055 Royal Street, [email protected]
Ernie K-Doe’s Mother-in-Law Lounge, 1500 N. Claiborne Ave.
Fair Grinds Coffee House, 3133 Ponce de Leon, (504) 913-9072, www.fairgrinds.com
Fuel Coffee House, 4807 Magazine St. (504) 895-5757
Goldmine Saloon, 701 Dauphine St., (504) 586-0745, www.goldminesaloon.net
The Green Space, 2831 Marais Street (504) 945-0240, www.thegreenproject.org
Handsome Willy’s, 218 S. Robertson St., (504) 525-0377, http://handsomewillys.com
The Hangar, 1511 S. Rendon. (504) 827-7419
Hi-Ho Lounge, 2239 St. Claude Ave. (504) 945-4446, www.myspace.com/hiholounge
The Hookah, 309 Decatur St. (504-943-1101), hookah-club.com
Hot Iron Press Plant, 1420 Kentucky Ave., [email protected]
House Of Blues / The Parish, 225 Decatur, (504)310-4999, www.hob.com/neworleans
The Howlin’ Wolf, 907 S. Peters, (504) 522-WOLF, www.thehowlinwolf.com
Kajun’s Pub, 2256 St. Claude Avenue (504) 947-3735, www.myspace.com/kajunspub
Kim’s 940, 940 Elysian Fields, (504) 844-4888
The Kingpin, 1307 Lyons St., (504) 891-2373
Le Bon Temps Roule, 4801 Magazine St., (504) 895-8117
Le Chat Noir, 715 St. Charles Ave., (504) 581-5812, www.cabaretlechatnoir.com
Lyceum Central, 618 City Park Ave., (410) 523-4182, http://lyceumproject.com
Lyon’s Club, 2920 Arlington St.
The Maison, 508 Frenchmen St., maisonfrenchmen.com
Mama’s Blues, 616 N. Rampart St., (504) 453-9290
Maple Leaf, 8316 Oak St., (504) 866-9359
Marlene’s Place, 3715 Tchoupitoulas, (504) 897-3415, www.myspace.com/marlenesplace
McKeown’s Books, 4737 Tchoupitoulas, (504) 895-1954, http://mckeownsbooks.net
Melvin’s, 2112 St. Claude Ave.
MVC, 9800 Westbank Expressway, (504) 234-2331, www.themvc.net
Neutral Ground Coffee House, 5110 Danneel St., (504) 891-3381, www.neutralground.org
Nowe Miasto, 223 Jane Pl., (504) 821-6721
Ogden Museum, 925 Camp St., (504) 539-9600
One Eyed Jacks, 615 Toulouse St., (504) 569-8361, www.oneeyedjacks.net
Outer Banks, 2401 Palmyra (at S. Tonti), (504) 628-5976, www.myspace.com/outerbanksmidcity
Republic, 828 S. Peters St., (504) 528-8282, www.republicnola.com
Rusty Nail, 1100 Constance Street (504) 525-5515, www.therustynail.org/
The Saturn Bar, 3067 St. Claude Ave., www.myspace.com/saturnbar
FRIDAY 12/3
WEDNESDAY 12/8
Banks Street Bar & Grill: Juice, 10:30pm
The Big Top: Opening Reception for Stacy
Kranitz, Erica Stavis w/ DJ Matty, 6pm-9pm,
FREE
d.b.a.: Hot Club of New Orleans, 6pm; the
Iguanas, 10pm, $5
The Frat House: Know Your Enemy, the
Scorseses, Luke Starkiller, 10pm
Hi-Ho Lounge: Big Rock Candy Mountain,
Royal Teeth, 10pm
House Of Blues: Merchnow Presents This is a
Family Tour w/ Attack Attack!, Emmure, Pierce
the Veil, Of Mice and Men, 5:30pm
Howlin’ Wolf: Don’t Spike the Eggnog II: A
Benefit for the Bridge House Wednesday Clinic
w/ Bicipital Groove, Dirty Netter, Spermatic
Chords, the Clean Catch, Lady Cerebellum,
Uvulae, 9pm; White Bitch, Metronome the City,
9pm (Live in the Den)
The Maison: Lagniappe Brass Band, 10pm; Free
Agents Brass Band, Midnight; Tony Scratchere,
10pm (Upstairs)
One Eyed Jacks: T-Model Ford, Bill Abel, 9pm
Republic: Throwback f/ Jean-Eric, $5, 10pm
Tipitina’s: Supagroup, Happy Talk Band, Brah,
10pm, FREE
Circle Bar: Ben Jones tribute to John Lennon
The Frat House: Hip-Hop Showcase f/ Big Dog
N.O., Trigga, Jay R Sin, Konfo, the Show, 10pm
Tipitina’s: Dave Barnes and Drew Holcomb
Christmas Show, 9pm, $15
SATURDAY 12/4
Banks Street Bar & Grill: Gravity A, 10:30pm
The Big Top: PhotoNOLA’s PhotoGALA
Benefit Party & Auction w/ Fleur de Tease, Jon
Cleary, DJ Brice Nice
Circle Bar: Sharks Teeth, Native America
d.b.a.: Debauche, Los Skarnales, 11pm, $5
Hi-Ho Lounge: Felix, 10pm
House Of Blues: Sabado, Fuego, DJ Juanes, DJ
Q, Midnight (The Parish @ House Of Blues)
Howlin’ Wolf: PANTyRAiD, FLT RISK,
Formless, 10pm; “My Life is a Party” f/
Aquaforce, Lyriqs, Jim-E-Stack, DJ G-Cue, 9pm
(Live in the Den)
Louisiana Music Factory: Petal Shop, 2pm;
Bodhi, 3pm; Gypsy Elise and the Royal Blues,
4pm
The Maison: Mmm Lawdy, 5pm; NOLAW
Ladies Arm Wrestling, 8pm; the Blue Party, Big
Rock Candy Mountain, 10pm
One Eyed Jacks: Suplecs w/ Iron Tongue
(members of Rwake), the Dirty Streets, 9pm
Tipitina’s: WWOZ 30th Birthday Bash f/
Theresa Andersson, Kirk Joseph, John Gros,
Willie Green, Shamarr Allen, the WWOZ AllStars, DJ Soul Sister, 10pm, $12
SUNDAY 12/5
d.b.a.: Mas Mamones, 10pm, $5
Hi-Ho Lounge: Burning Spear Indians, 7pm
The Maison: Chegado, 10pm
Side Arm Gallery, 1122 St. Roch Ave., (504) 218-8379, www.sidearmgallery.org
MONDAY 12/6
The Spellcaster Lodge, 3052 St. Claude Avenue, www.quintonandmisspussycat.com
Circle Bar: Dirt Daubers
Southport Hall, 200 Monticello Ave., (504) 835-2903, www.newsouthport.com
St. Roch Taverne, 1200 St. Roch Ave., (504) 945-0194
Tipitina’s, (Uptown) 501 Napoleon Ave., (504) 895-8477 (Downtown) 233 N. Peters, www.tipitinas.com
The Zeitgeist, 1618 Oretha Castle Haley Blvd., (504) 827-5858, www.zeitgeistinc.net
Vintage Uptown, 4523 Magazine St., [email protected]
METAIRIE VENUES
The Bar, 3224 Edenborn, myspace.com/thebarrocks
The High Ground, 3612 Hessmer Ave., Metairie, (504) 525-0377, www.thehighgroundvenue.com
24
TUESDAY 12/7
Banks Street Bar & Grill: Andrew Duhon, 9pm
House Of Blues: Rock 92.3 Presents a Sick and
Twisted X-Mas w/ Sick Puppies and special
guests, 8pm
THURSDAY 12/9
d.b.a.: Los Po-Boy-Citos, 10pm, $5
House Of Blues: Shinedown Acoustic, Will
Hoge, 8pm
Howlin’ Wolf: Future Leaders of the World,
Touching the Absolute, Luke Starkiller, 10pm
The Maison: Kristina Morales, 7pm; Rue Fiya,
10pm
FRIDAY 12/10
Babylon (2917 Harvard): None Like Joshua,
Action After Dark, T.O.S., 10pm
Banks Street Bar & Grill: Soul Project, 10pm
The Big Top: Dubla Music Presents 3rd Annual
Holladay Hop w/ Juskwarm, City Sparks, GPC,
d.o.n., Suave, Private Pile, Truth Universal, Cali
Obzvr, 10pm, $5
Circle Bar: The Viatones
d.b.a.: The Dead Kenny Gs, 10pm, $5
Freret St. Boxing Gym (4510 Freret St.):
Friday Night Fights w/ Know Your Enemy, 6pm
House Of Blues: Christmas with Aaron Neville
and His Quintet f/ Charles Neville, 8pm
Howlin’ Wolf: Slow Burn Burlesque Presents:
the Naughty List, 11pm
The Maison: Brassaholics, 10pm; Big Easy
Brawlers, Midnight; Storyville Starlettes
Burlesque, 9pm (Upstairs)
One Eyed Jacks: Simple Play Presents Easy
Company, Booty Trove, Yojimbo, 9pm
Republic: Throwback f/ Silent Cinema, $5, 10pm
Tipitina’s: Big Chief Monk Boudreaux Birthday
Bash f/ Special Guests, 10pm, FREE
SATURDAY 12/11
2216 Esplanade Ave.: Avant Garden an Art Yard
Sale w/ DJ Joey Buttons, Disko Obscura, 11am-5pm
Babylon (2917 Harvard): Idol Handz, Don’t Try
This at Home, 10pm
Banks Street Bar & Grill: PYMP, 10:30pm
The Big Top: Eva Frishberg Album Release
Party w/ Austin & Tyler Clements, 7pm, FREE
Circle Bar: Vox and the Hound, Dark Water
Hymnal
Crescent City Comics (4916 Freret St.): Infinite
Holiday Bash II, 6pm-11pm, FREE (w/ FREE
beer!)
d.b.a.: Little Freddie King, 11pm, $5
Domino Sound Record Shack (2557 Bayou
Rd.): DJ Soul Sister’s 4th Annual Holiday Crate
Dig, 3pm-5pm, FREE
Hi-Ho Lounge: White Colla Crimes, Vocka
Redu, 10pm
House Of Blues: Sabado, Fuego, DJ Juanes, DJ
Q, Midnight (The Parish @ House Of Blues)
Howlin’ Wolf: Burlesque on the Bayou w/ the
Unnaturals, 9pm; Grenade Man, Stathakula, 9pm
(Live in the Den)
Louisiana Music Factory: Kermit Ruffins,
11am; Spencer Bohren, Noon; Eva Frishbert w/
Austin & Tyler Clements, 1pm
The Maison: Soul Project, 10pm; Lazer Sword,
10pm (Upstairs)
EVENTS
SATURDAY 12/11 (Cont...)
Big Damn Band, Grant Watts, 9pm
One Eyed Jacks: Hamp Fest 2010 f/
Quintron and Miss Pussycat, Fleur de Tease,
Katey Red, Truth Universal, 9pm
THURSDAY 12/16
SUNDAY 12/12
Hi-Ho Lounge: Burning Spear Indians, 7pm
House Of Blues: Ledisi, 8pm
Howlin’ Wolf: Gorilla Productions’ Battle
of the Bands, 5pm
The Maison: Margie Perez, 10pm
One Eyed Jacks: Fleur de Tease, 9pm
MONDAY 12/13
Circle Bar: My Empty Phantom
Sound Café (2700 Chartres St.): Anxious
Sound Presents Tatsuya Nakatani, 6pm
TUESDAY 12/14
AllWays Lounge: Anxious Sound Presents
Tatsuya Nakatani, Bill Hunsinger, Rob
Cambre, 10pm
Banks Street Bar & Grill: The Cha Wa
Mardi Gras Indians, 10pm
WEDNESDAY 12/15
One Eyed Jacks: The Reverend Peyton’s
The Big Top: New Orleans Craft Mafia’s
Last Stop Shop Holiday Market & Party,
6pm-10pm, FREE
d.b.a.: Washboard Rodeo, 10pm, $5
House Of Blues: Mystikal, 9pm
Howlin’ Wolf: In the Dark f/ Crizmatic and
Dragon, LOU, J. Warner, 2 Face, Step Up
Ent., 9:30pm
The Maison: Influencia de Jazz, 7pm; Rue
Fiya, 10pm
Republic: Bassik, MiM0SA, Nosaj Thing,
$15, 10pm
FRIDAY 12/17
Banks Street Bar & Grill: The Big Fat &
Delicious Banks St. Christmas Party, 9pm
The Big Top: Friday Night Music Camp w/
the Pfister Sisters’ Carol Sing-Along, 5pm7pm, FREE; OpenHouse Music Presents
Tom Waits Burlesque and Music Tribute w/
DJ Yrs Truly, members of Dirty Bourbon
River Show, 9:30pm, $10
Circle Bar: The Bills, Guitar Lightnin’ Lee,
the Split()Lips, Steve Eck, 10pm, $5
d.b.a.: Rotary Downs, 10pm, $5
House Of Blues: Bustout Burlesque, 8pm,
10:30pm
Howlin’ Wolf: Vedas, 9pm (Live in the
Den)
The Maison: Yojimbo, 10pm; the Abney
Effect, Midnight
One Eyed Jacks: Soul Sister Presents DâMFunK, DJ Soul Sister’s Right On ’80s Party,
9pm
Tipitina’s: Flow Tribe’s Christmas
Crunktacular, the Local Skank, 10pm, $8
SATURDAY 12/18
Babylon: The Drapers Cover Band, Jason
Frilot Acoustic, 10pm
Banks Street Bar & Grill: Earphunk & Gris
Gris, 10pm
Circle Bar: Zorch, Smiley with a Knife
d.b.a.: Good Enough for Good Times, 11pm,
$5
House Of Blues: Kermit Ruffin’s Birthday
Bash & Christmas Show f/ Kermit Ruffins &
the Barbecue Swingers, 9pm; Sabado, Fuego,
DJ Juanes, DJ Q, Midnight (The Parish @
House Of Blues)
Howlin’ Wolf: Soul Rebels Brass Band,
10pm; Mike’s Birthday Bash f/ Mississippi
Rail Company and Carmine P. Filthy, plus
members of New Grass Country Club and
Stathakula, 9pm (Live in the Den)
Louisiana Music Factory: Linnzi Zaorski,
2pm; Raphael Bas, 3pm; Tom Morgan signs
Historic Photos of New Orleans Jazz, 3pm;
Holley Bendtsen, Amasa Miller, 4pm
The Maison: Mmm Lawdy, 7pm; Jeremy
Phipps and the Outsiders, 10pm; the
Revealers, Midnight
One Eyed Jacks: Tin Men, 9pm
Tipitina’s: The Chilluns f/ Annie Clements,
Dave Malone, Cranston Clements, Darcy
Malone and Various Artists, 10pm, $15
Twist of Lime: Terranova, Black Primer,
10pm
SUNDAY 12/19
Banks Street Bar & Grill: Bru Braser’s the
Future Funk, 9pm
d.b.a.: The Louisiana Hellbenders, 10pm, $5
Hi-Ho Lounge: Jane’s B-Day Variety Show
w/ Oops the Clown, Ratty Scurvics, 10pm
The Maison: Doombalaya, 10pm
One Eyed Jacks: Meschiya Lake and the
Little Big Horns, 9pm
TUESDAY 12/21
Banks Street Bar & Grill: PYMP, 10pm
WEDNESDAY 12/22
Circle Bar: Helen Gillet
featured cocktail:
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EVENTS
WEDNESDAY 12/22 (Cont...)
The Frat House: Hip-Hop 4 Tots: Toy Drive
Benefiting Children’s Hospital f/ Alkatraz
Out Patient, Top Billion, Ideal, Lil Dee, LSD,
Saumatic Sessions, M. Harris & S-Pyange,
Pastrano w/ Step Up Ent., Baby Shane, 10pm
THURSDAY 12/23
d.b.a.: The Savage Band, 10pm, $5
House Of Blues: Home for the Holidays
to benefit the Daniel Price Memorial Fund,
7:30pm
The Maison: Kristina Morales, 7pm; the
Revealers, 10pm
FRIDAY 12/24
Banks Street Bar & Grill: Guitar Lightnin’
Lee, 10pm
The Maison: Caesar Brothers Funk Box,
10pm
SATURDAY 12/25
Banks Street Bar & Grill: The Unnaturals,
10pm, FREE
House Of Blues: Trombone Shorty’s Funky
X-Mas Jam: Let it Blow! Let it Blow!! Let it
Blow!!!, 9pm
Howlin’ Wolf: Christmas Throwdown w/
Rebirth Brass Band, 10pm
The Maison: Mmm Lawdy, 7pm; Caesar
Brothers’ Funk Fox, 10pm
SUNDAY 12/26
d.b.a.: Washboard Chaz Blues Trio, 10pm,
$5
Howlin’ Wolf: George Porter Jr.’s Birthday
Bash w/ George Porter Jr. and His Runnin’
Pardners, 9pm
The Maison: The Tomcats, 10pm
MONDAY 12/27
Circle Bar: Sun Hotel, Caddywhompus
TUESDAY 12/28
Banks Street Bar & Grill: Lynn Drury, 9pm
House Of Blues: 100 Monkeys, 8pm
WEDNESDAY 12/29
Tipitina’s: Dr. John and the Lower 911,
9pm, $35
THURSDAY 12/30
House Of Blues: Home for the Holidays w/
Angry Banana, 6pm (The Parish @ House Of
Blues); Better Than Ezra, 8pm
The Maison: Influencia de Jazz, 7pm; Déjà
vu Brass Band, 10pm
Tipitina’s: Dr. John and the Lower 911,
9pm, $35
FRIDAY 12/31
Banks Street Bar & Grill: Mid-City All-Star
New Year’s Eve Party, 10pm
Checkpoint Charlie’s: The Unnaturals
d.b.a.: Honey Island Swamp Band, John
Mooney, 10pm, $20
26
Hi-Ho Lounge: Debauche, Slow Burn
Burlesque, 10pm
House Of Blues: Better Than Ezra, 9:30pm
Howlin’ Wolf: Ivan Neville’s Dumpstaphunk
w/ Papa Grows Funk, 10pm; Earphunk, 9pm
(Live in the Den)
The Maison: Yojimbo, 10pm; Soul Project,
Midnight
One Eyed Jacks: Morning 40 Federation w/
Meschiya Lake and the Little Big Horns, 9pm
Tipitina’s: Galactic, Tea Leaf Green, 10pm,
$60
SATURDAY 1/1
One Eyed Jacks: Smoking Time Jazz Club,
Midnight
WEEKLY EVENTS
MONDAYS
Banks Street Bar & Grill: N’awlins
Johnnys, 9pm
Bayou Park Bar: The Hooch Riders, 9pm
Checkpoint Charlie’s: Mad Mike, 8pm
Circle Bar: Kelly Carlyle, 6pm
d.b.a.: Glen David Andrews, 9pm
Dragon’s Den: Domenic
Hi-Ho Lounge: Blue Grass Pickin’ Party,
8pm
Spotted Cat: Brett Richardson, 4pm; Domic
Grill and the Frenchmen St. All-Stars, 6pm;
The Jazz Vipers, 10pm
TUESDAYS
Bayou Park Bar: The Parishoners, 9pm
The Big Top: Brit Wit, 8pm
Carrollton Station: Acoustic Open Mic, 9pm
Café Negril: John Lisi and Delta Funk, 7pm
Checkpoint Charlie’s: Acoustic Open Mic
w/ Jim Smith, 10pm
d.b.a.: New Orleans Cottonmouth Kings,
9pm
Hi-Ho Lounge: Trivia Tuesday, 8:30pm
Howlin’ Wolf: The Big Busk, A Night of
Burlesque and Live Music (Live in the Den)
The Rusty Nail: Open Mic w/ Whiskey T.,
8pm
The Saint Tikioke, 9pm, FREE
Spotted Cat: Brett Richardson, 4pm;
Smokin’ Time Jazz Club, 6pm, Meschiya
Lake and the Little Big Horns / the Davis
Rogan Band (12/7), 10pm
WEDNESDAYS
AllWays Lounge: Marygoround & The
Tiptoe Stampede
Banks Street Bar & Grill: Major Bacon,
Free BLTs, 9pm
The Bar: Musician Appreciation Night, 7pm
Bayou Park Bar: The Hooch Riders, 9pm
Blue Nile: United Postal Project, 8pm;
Gravity A, 10pm (Upstairs); Khris Royal and
Dark Matter, 10pm
The Box Office: Dan Wallace Quartet, 7pm
Carrollton Station: Standup Comedy Open
Mic, 9pm
Checkpoint Charlie’s: Kenny Holiday and
the Rolling Blackouts, 9pm
Circle Bar: Jim O. and The No Shows w/
Mama Go-Go, 6pm
d.b.a.: Tin Men, 7pm; Walter Wolfman
Washington and The Roadmasters, 10pm, $5
EVENTS
Deckbar: Blues & Beyond Jam w/ John Lisi
& Delta Funk, 8pm
Dragon’s Den: DJ T-Roy Presents:
Dancehall Classics, 10pm, $5
Hi-Ho Lounge: Local Piano Night w/
Various Musicians, 8pm
Howlin’ Wolf: Booty Trove Brass Band,
FREE
The R Bar: DJ Lefty Parker
Spotted Cat: Brett Richardson, 4pm; Free
Swing Dance Lessons, 5pm, The Orleans,
6pm; St. Louis Slim and the Frenchmen St.
Jug Band, 10pm
Yuki: Mojotoro Tango Trio, 8pm
THURSDAYS
Banks Street Bar & Grill: Dave Jordan’s
Neighborhood Improvement, 10pm
Bayou Park Bar: Classic Country w/ Ron
Hotstream, 10pm
Blue Nile: DJ T-Roy, 10pm; DJ Tom
Harvey’s Unlock the House, 10pm (Upstairs)
Checkpoint Charlie’s: The Fens w/ Sneaky
Pete, 10pm
Circle Bar: Sam and Boone, 6pm
d.b.a.: Eric Lindell, 7pm
Dragon’s Den: DJ Frenzi, DJ Proppa Bear,
10pm
Hi-Ho Lounge: Stooges Brass Band, 9:30pm
The Hookah: Exhale: A Ladies Night, 10pm
Howlin’ Wolf: Comedy Gumbeaux, 8pm
(Live in the Den)
La Nuit Comedy Theater: A.S.S.tronot,
8:30pm
Le Bon Temps Roule: Soul Rebels, 11pm
One Eyed Jacks: Fast Times ’80s Dance
Night
Spotted Cat: Brett Richardson, 4pm; Miss
Sophie Lee, 6pm; New Orleans Moonshiners,
10pm
Republic: LEGIT, 10pm, $7
FRIDAYS
Bayou Park Bar: Electronic DJs, 9pm
The Big Top: Friday Night Music Camp,
5pm
Blue Nile: Mykia Jovan and Jason Butler,
8pm; DJ Real and Black Pearl, Midnight
(Upstairs)
Circle Bar: Jim O. and The Sporadic
Fanatics, 6pm
The Hookah: The A-List Unplugged w/ EF
Cuttin’, 10pm
La Nuit Comedy Theater: God’s Been
Drinking, 10pm, $10
Republic: Throwback, 11pm
Spotted Cat: Brett Richardson, 4pm;
Washboard Chaz Blues Trio, 6pm; New
Orleans Cottonmouth Kings, 10pm
Tipitina’s: Tipitina’s Foundation Free
Friday!, 10pm
SATURDAYS
Blue Nile: Washboard Chaz Blues Trio, 7pm;
DJ Real and Black Pearl, Midnight (Upstairs)
Circle Bar: The Jazzholes, 6pm
d.b.a.: John Boutte’, 8pm
The Hangar: Ladies Night
The Hookah: Hookah Hip-Hop w/ DJ EF
Cuttin, 10pm
La Nuit Comedy Theater: ComedySportz
(1st/3rd Saturdays), 7pm
LePhare: DJ Jive
Republic: DJ Damion Yancy, 11pm
Spotted Cat: Luke Winslow King, 3pm;
Panorama Jazz Band, 6pm; the Davis Rogan
Band, 10pm
SUNDAYS
Banks Street Bar & Grill: ’80s Dance Party
SIN Nite, 8pm
Bayou Park Bar: Cortland Burke and
Special Guests, 9pm
Blue Nile: FabuNOLA Presents Sexy Salsa
Sunday, 7pm
Café Negril: John Lisi and Delta Funk, 7pm
Checkpoint Charlie’s: Acoustic Open Mic
w/ Jim Smith, 7pm
Circle Bar: Drink N Draw, 3pm; Micah
McKee and Friends, 6pm
d.b.a.: The Palmetto Bug Stompers, 6pm
Dragon’s Den: Attrition, 10pm (Upstairs)
The Hookah: Ear Candy w/ DJ Rik Ducci, 10pm
House of Blues: The Sunday Gospel Brunch
Howlin’ Wolf: Brass Band Sundays w/ Hot 8
Brass Band
Spotted Cat: Rights of Swing, 3pm; Kristina
Morales (12/5 & 12/19)/Ben Polcer and Friends
(12/12 & 12/26), 6pm; Pat Casey, 10pm
The Maison: St. Claude Serenaders, 6pm
Tipitina’s: Music Workshop Series,
12:30pm; Cajun Fais Do Do f/ Bruce
Danigerpoint, 7pm
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COMICS
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COMICS
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PHOTOS
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PHOTOS
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