Don’t Fear the Remix ProjectBy Eric A. WolfPhoto by Chris BushnellWhen I heard that David Eggers’ provocative,yet elitist literary magazine, <strong>The</strong> Believer, wasplanning on releasing an all-<strong>music</strong> issue,accompanied by a fulllength comp CD ofcontemporary indie <strong>music</strong>ians covering othercontemporary indie <strong>music</strong>ians, I approachedthe concept with equal p<strong>art</strong>s eagerness <strong>and</strong>skepticism. So I rolled the dice <strong>and</strong> droppedmy $8.00 (o.k., my $5.60 with Barnes <strong>and</strong> NobleEmployee Discount). I managed to get throughevery <strong>art</strong>icle (skipping the Beck interview first),many without rereading everyparagraph a second (o.k. third)time. But not before I tore intothe tastefully designed plasticpocket on the cover, removedthe miraculously undamagedCD, <strong>and</strong> prepared to rockout while the Decemberistscovered Joanna Newson. OrSpoon tried their luck at Yo LaTengo. Oh shit! <strong>The</strong> Shins doingthe Postal Service? DevendraBanh<strong>art</strong> covering Antony<strong>and</strong>the Johnsons?!! <strong>The</strong> gang’sall here. But just how in thename of all things holy arethe Mountain Goats going todo justice to the Silver Jews’“Pet Politics” without comingoff as contrived, redundant orsimply as p<strong>and</strong>ering? Whichfinally brings me to my point,<strong>and</strong> believe me, believers, I dohave one. (I am assuming mostreaders skipped ahead to theadvice/sex column by now.) What, exactly, isthe benefit of covering a p<strong>art</strong>icular song: theremake, or in today’s parlance, the remix? If<strong>music</strong> is truly about honestly expressingyourself, your original thoughts <strong>and</strong> feelings<strong>and</strong> experiences, why dilute the message byplaying someone else’s stuff?Well, for many reasons. Maybe in order toexpose younger fans to an older song. A rebirth.Bob Dylan wrote “All Along the Watchtower”but Jimi Hendrix, Neil Young, U2 <strong>and</strong> even,(begrudgingly) Dave Matthews have takenthat song <strong>and</strong> made it their own. Or maybe toshowcase your talents. I love Stevie Wonder’s“Superstition” but you haven’t lived untilyou’ve heard the Stevie Ray Vaughn version. Orperhaps as a tool of expression. Sadly, Idiscovered many of my all-time-favorite songsby purchasing Annie Lennox’s covers album,but I still fear for people that bought M<strong>and</strong>yMoore’s last album, an <strong>art</strong>ist who tried the samefeat with considerably less success. Or maybejust to fuck with people. Only Marilyn Mansoncould revisit the Eurythmic’s “Sweet Dreams”with enough anger <strong>and</strong> venom to utterlydecimate the song’s original intention withoutchanging one lyric. Trent Reznor frequently24<strong>music</strong>remixes his own material to a stunningly drasticdegree. However, Nine Inch Nails’ versions ofJoy Division’s “Dead Souls” <strong>and</strong> Adam Ant’s“You’re So Physical” seem completely organic<strong>and</strong> necessary, while Britney’s “My Prerogative”or Jessica’s “Take My Breath Away”, do not.When Sinatra did a cover, it was a “st<strong>and</strong>ard”.But to Aphex Twin, it is a remix. <strong>The</strong> debateover the value of sampling may no longer bethe hot button topic it once was; yet strongopinions remain on both sides of the record.(Where would the Beastie Boys be if not forPaul’s Boutique?) Today the <strong>art</strong> of sampling <strong>and</strong>remixing is fundamental to the production ofmost house <strong>music</strong>, techno, rap <strong>and</strong> even Top40. In the realm of hip hop, sampling may notbe as prevalent as the era of Puffy, Dr. Dre orRun DMC, but folks like Kanye West are aroundto ensure no funky riff will remain forgottenfor long. Once I saw the Eels at the Cradle <strong>and</strong>they closed their first set with Missy Elliot’s “GetYour Freak On”. It blew my mind, <strong>and</strong> suddenlyhundreds of otherwise stoic hipsters began toshake that ass with reckless ab<strong>and</strong>on. <strong>Raleigh</strong>’s<strong>The</strong> Remix Project approach their <strong>music</strong> withthe same spirit of lighthe<strong>art</strong>ed sarcasm <strong>and</strong>carefree tribute. <strong>The</strong>ir knack for selecting fresh,inspired version of popular dance <strong>music</strong> revealsa level of intelligence <strong>and</strong> depth not often seenwith cover b<strong>and</strong>s. In fact, the instrumental,free-flowing sound, in combination with a moreclub-friendly house beat adds enough drama<strong>and</strong> mystery to evoke more Curtis Mayfield thanJay-Z. According to drummer Stephen Levitinthe idea is to keep things simple. “We are a livemixtape b<strong>and</strong>, that plays like a DJ would, mixingin different songs <strong>and</strong> genres,” says Levitin.Levitin’s work as DJ <strong>and</strong> producer, the AppleJuice Kid, may have helped the collective fosterthe seamless transitions between songs thatare more closely associated to club <strong>music</strong> thanlive b<strong>and</strong>. “We are just trying to make peopledance, <strong>and</strong> have fun. It is fun to mess withpopular hip hop <strong>and</strong> dance songs, <strong>and</strong> do themlive, which were usually done electronically,”he says. Contrary to all the ‘Lil Jons <strong>and</strong> G Unitsworking today, <strong>The</strong> Remix Project’s sound isnot entirely dependent on technology. <strong>The</strong> G4laptop does more to light the stage than tooccasionally trigger samples. Levitin, along withbassist Matt Br<strong>and</strong>au <strong>and</strong> percussionist BrevanHampden lay down an unrelenting rhythmwhile guitarist Dana Chell <strong>and</strong> Keyboardist MarkWells trade many of the melodic hooks. Despitetheir youthful looks, the guys are accomplished<strong>music</strong>ians. And while away from acts likeSankofa, Apple Juice Orchestra, Mosadi Music,Who’s Bad <strong>and</strong> the MightyBurners, they have found <strong>The</strong>Remix Project as a chanceto something a bit different.“We are all doing it for fun,”Levitin explains. “People lovedit right away <strong>and</strong> we just enjoygetting together <strong>and</strong> making<strong>music</strong>.” It’s not unusual to heara White Stripes song betweenone by Outkast <strong>and</strong> Ol’ DirtyBastard, or maybe some oldschool joints from A TribeCalled Quest or Black Sheep.<strong>The</strong> only requirement is abad ass beat. “A lot of times,whatever the hottest songsare at the moment, we liketo do. For this month, we aredoing Amerie’s ‘One Thing’,Ying Tang Twin’s ‘WhisperSong’ <strong>and</strong> Snoop Dogg’s ‘DropIt Like It’s Hot.’ In additionto that, we just like pickingsongs that people would notexpect or that we think are cool, like the ForeignExchange, which we are all big fans of, or aBlur song, or a Daft Punk song.” Currently <strong>The</strong>Remix Project is enjoying a home at the stylishyet comfortable White Collar Crime, wherethey perform on the first Wednesday of everymonth. <strong>The</strong> design of the bar holds the sameelusive draw found at many chill out loungesin larger cities. In contrast, the drink prices arereasonable, no cover charge to worry about,<strong>and</strong> the bathrooms are so neat that you kind ofenjoy using them. Like the set list, the crowdat White Collar is diverse enough to remaininteresting. If you st<strong>and</strong> too close, you may findyourself in the middle of a breakdancing circle.But that’s p<strong>art</strong> of the charm. “We try not to be ajam b<strong>and</strong>, or to be totally a cover b<strong>and</strong>,” Levitinsays, “so we do improvise, since we all have ajazz background. But we try to think like a DJas well <strong>and</strong> switch the songs up.” In essence,they are the perfect DJ: the kind that plays thatnew song you have been dying to hear, but in atotally new way.<strong>The</strong> Remix Project’s debut CD is out now. Formore information, go to www.remixproject.comor www.applejuicekid.com.
Tanning by Numbers:What <strong>The</strong> Fuck Is A Tantoo?By Jeramy LoweFor allegedly practicing heterosexuals, myfriend Josh <strong>and</strong> I have some incredibly“gay” ideas. <strong>The</strong>se ideas, however, areusually grounded in our absurd senses of<strong>humor</strong>, as esoteric as they tend to be. Lastmonth, the <strong>art</strong>icle that I did on the luridtrend of metrosexuality led me to do somereexamining of sorts: DoI really need to throwaway all of my hair <strong>and</strong>skin care products,my impeccably stylishwardrobe, <strong>and</strong> all ofmy Air cds just to avoidbeing lumped in withthis with this loathsomecultural subset?Ultimately, I came tothe conclusion that Icome to far too often:“Who gives a fuck?” Thisresignation led Josh<strong>and</strong> I to concoct oneof our silliest, yet mostplausible scenariosever: Let’s take the dayoff, get spray tans, <strong>and</strong>then make our way toBahama Breeze for fruitycocktails, <strong>and</strong> later on,make it back inside thebeltline to our regular haunts in ridiculousclothes, while doing our best to maintainthat this was indeed “just how we roll” onour days off. While, in theory, this was afunny idea, I wasn’t entirely ready for justhow serious we were, or how far we wouldgo.A friend of ours, who works at Salon 21overheard us talking about our plans, <strong>and</strong>offered to help us get an appointment withKaren Scaglia, the official jack-of-all-tradesat the salon. I remember thinking “fuck, nowwe are really going to have to do this”, <strong>and</strong>sure enough, the next day, there I was onthe phone discussing with a professionalmy plans to spray-tan only the upper halfof my body as heavily as regulations wouldallow. I felt obliged to explain that, ideally, Iwould end up writing about the experience,<strong>and</strong> that this was completely in the interestof gonzo journalism. This hadn’t actuallyoccurred to me beforeh<strong>and</strong>, but I had tojustify my telling a grown woman that “wewould like to look as stupid as humanlypossible.”With our appointment looming, Josh<strong>and</strong> I also decided that in order to achievemaximum stupidity we would need toacquire stickers in order for us to attemptto get what I am told is a “tantoo.” On theday of the appointment, we both woke uplate, <strong>and</strong> it was up to me to scramble for thestickers, so I sped toward Hillsborough St. toBuddha’s Belly. That humiliated feeling wasalready setting in as I asked the guy behindthe counter that I would like one of eachof the following stickers: a shamrock, a caton turntables, a pot leaf, a set of danglingcherries <strong>and</strong> some kind of mutant bear. Iwould have to tell Josh that they were freshout of the unicorn stickers that he had hishe<strong>art</strong> set on, <strong>and</strong> I hoped that this wouldn’truin everything, but he eventually settled onthe shamrock <strong>and</strong> I went with the pot leaf<strong>and</strong> the cherries.To put it lightly, we did not look like theusual clientele of Salon 21. We probablywere mistaken by at least one of the girlsworking there for some guys who had justpulled an all-nighter at <strong>The</strong> Office Tavern<strong>and</strong> w<strong>and</strong>ered in to panh<strong>and</strong>le. Thatbeing said, everyone was very nice <strong>and</strong>accommodating as we were ushered intoseclusion <strong>and</strong> told to remove our shirts.We obliged <strong>and</strong> presented Karen with ourstickers as well as our hirsute chests. Wewere told that the active ingredient of thespray was DHA, which is the st<strong>and</strong>ard inany manufactured-tanning solution, thatthe spray was a derivative of sugarcane <strong>and</strong>would in no way protect us against UV rays.Luckily, there was little risk of overexposureto the suns harmful rays at Bahama Breeze,but we did have to ask if somehow thesugar cane would absorb into Josh’s skin,but Karen assured us that the tan did notthreaten to send him into a diabetic coma.As she st<strong>art</strong>ed on my first “coat”, Joshlooked st<strong>art</strong>led <strong>and</strong> said “Hey, what’s goingon? You don’t have any hair on your back.You are totally sheen”. I told him that I hadbeen extremely luckyin that respect, givenmy lineage to nearsimians<strong>and</strong> outwardlyknocked on wood (ifyou listen closely, youcan still hear me doingit). After about fifteenminutes things got outof h<strong>and</strong> when Josh sawthe cauldron of waxsitting in the corner<strong>and</strong> began asking in allseriousness how muchit would cost to havehis back waxed as well.You could tell that hewas being genuine<strong>and</strong>, given that it wasrelatively inexpensive,Karen agreed <strong>and</strong> thewaxing had begun. Ihave never witnessedthis sort of thing before<strong>and</strong> probably never would have (hear thatknocking again?) had we not decided tost<strong>art</strong> with this whole tanning issue in thefirst place. How did our day of absurdityevolve into a benign version of Hunter S.Thompson’s drug collection in Fear AndLoathing? I st<strong>art</strong>ed to worry a little that bythe end of the day we would have spiraledout of control <strong>and</strong> begun interviewing forwhatever all-male revues are in the area (Iswear I don’t know if there are any). Duringthe course of the waxing, a few of theother hairdressers had popped their headin the door with curiosity as to why therewould be so much manly giggling comingfrom the waxing/tanning room. Our friendElaine, who had set up our appointment,popped her head in the room as well, <strong>and</strong>,given the blithe atmosphere, had decidedthat this would be a great time for herwaxing premier. Josh agreed to his guineapig parameters, <strong>and</strong> while this ended upadding to the levity of the whole scenario,it also added to the amount of time that Iwas forced to st<strong>and</strong> around shirtless in aroom with sticky shit all over my torso, while