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Vol. 10 No. 9 July 2013 #108

Featured ColumnistHorrorscopesby MADAME ZOË DIACKTIME TO COOL OFFWe are moving into the House ofCancer this month and what abetter way to honor Cancer’s and yourown inner crab than to take to thewater? If you didn’t heed last month’sadvice about staying one step ahead ofthe heat, then you may be feeling a bitgrumpy right now. Take this month’sastrological offerings and focus onwater. Drink it, play in it, submerge in itand honor the 60% of your body that iswater. It is truly one of the only thingswe need.CancerDo you feel like the summer has relaxedyou and all the problems you weredealing with have slowly rolled away?Well, after June 25th, Jupiter movedinto your house and cleaned out a lotof problems you have been dealing within the first half of the year. You shouldfeel much more confident, happy andbalanced; and your physical and mentalhealth should even be doing better. Withthis, the moon is your ruling planetand boy oh boy is her pull close to younow. Hello Super Moon! Find yourselfa vacation and for Cancers, the furtheraway the better. Make sure there iswater close by though, little crab.LeoLeos, ruled by the sun, are going tohave a little bit of a rocky start to July.It is best to stay prudent, lay low andlet the situation pass you by. Give thismonth a little time to work itself outand you will be pleasantly surprised.It will be your month! You will useall of your lion charms and they willwork. Collaborations will lead to futuresuccesses in your projects—just bewareof set-ups. Lastly, Leos, maybe youshould stick close to home and cool offwith a nice pool and a daiquiri. Don’ttravel right now, even if you have themoney.VirgoBeware Virgos. Mercury goes intoretrograde this month and it alwaysfunks things up a little more for yoursign than others. So if your letter comesback, your call goes unanswered, thingstake longer... just hold your breath. Theend of the month actually looks a littleeasier for you. Now, just because thingswill be difficult does not mean theywon’t be fun. You will have a very socialmonth and you may even get involvedin a great group or collaboration. Lifewill be pulling you out, but for somereason you are preoccupied with thingsyou shouldn’t worry about just yet. Letit go and go with the flow.LibraIt is an important time to socialize,for love is all around you, Libra. It is agreat time for you to meet other peoplewho will mean something to you in thefuture. Now is a time of connectingto others with similar spiritual andintellectual interests. You will havehappy, fun times that will be verysignificant, but it won’t come withoutsome stress. Be sure to pace yourselfand don’t take on too much; it maylead to exhaustion. Stay open to thepossibilities of a bigger love.ScorpioBelieve it or not, it is a great timeof passion for you. You are moresentimental now than ever, and the bestpart is that it is not going to end. Theride may be bumpy along the way, butthe next year will be filled with love andsentimentality for you. Your life willturn a little to education as well. Gettinginvolved in a paper or university orsome level of education will bring abouta fresh breeze in your summer. The bestadvice for Scorpios is to stay organizedand on top of things. Drink more waterand less booze.SagittariusSagittarius will be heavy in the head.You tend to think about things as aseeker of knowledge, but this month youget no answers... sorry. In fact, a periodof sentimental complication may arise.It is important to look at things from adifferent angle in order to see the truthin it. Do not waste your efforts whenyou don’t truly feel on the same plane assomeone else. This action will save youtime and heartache in the areas of notonly love, but work, family, friends andthe most important thing––being true toyourself.CapricornCapricorns may be in for a few hotnights and we are not suggesting the ACis out. So have fun, but make sure yourfun does not overlap or you may be ineven hotter water than you wanted tobe in. And trust us––right now, you arelooking for hot water. Our best advice tothe Caps is to simply avoid all situationsthat can lead to conflict. Also, if you feela little under the weather, it is Mercuryin retrograde affecting Capricorn healthin an odd way.AquariusHello Water-bearers. You are ones whousually understand the cooling effectsof the water and often are the oneswho sooth and pacify others aroundyou. And in hot times like these, wethank you. You are a great diffuser ofsome out-of-control situations. Youwill also shine like a star in your career,and man, will you be busy. Just plan ontaking a break or vacation next month.Address your health or you will be sorry.Even the healthy ones... go get that testyou are putting off.PiscesListen to your heart, not your head.Pisces will feel young, brand new anda bit sexy. GRRRR! Your pheromonesare buzzing in this summertime haze.However, you must be discreet andremember not to do anything too stupidbecause pretty much like your wholelife, you will pay for the mistakes yourindiscretions cause. You could havea success in the area of real estate orownership as long as you don’t bank onhigh values. Also, take a piece of adviceyou always dole out and don’t put all ofyour eggs in one basket.AriesDon’t rush into anything, and getpersonal counsel from those you love.You may find profit in something aslong as you don’t overlook the risks. Ifit is too risky, pass it by, as it will tankyou. You will find some sensualityovercoming you in these hot, steamymonths. You could have some real sexyscenarios arise. If it looks like it is goingin that direction, it most probably is.Just remember, it could simply be thesweltering summer passions overcomingyou and not the love of your lifehappening.TaurusIf you would just communicate, youwouldn’t have so many problems andmisunderstandings. It is important tosay what you mean and mean what yousay... but have a bit of tact. People havefeelings. This advice can be applied toyour job, your love life, and even yourfriendships. Sometimes if you warmthe knife up, it slides right through thebutter. Maybe it is just your bull-headednature, but we are giving you some verygood advice right now. It will also be agood time to reanalyze choices of thepast and make the proper adjustmentsfor future happiness. It’s okay to tweakthings. That’s life.GeminiMars is still with you twins, so youshould still be rolling on the hot, heavyand high times of last month. This leadsto a greater time of communications,just as it should. Fuck now and fightlater. You may accomplish a goal thatyou had put on the shelf for a long time.Life just wraps up that way, and nowthat you have finished it, you may noteven care. Finances will turn toward thepositive and will stay that way for thewhole year. So just sit on your walletuntil the end of July.5

Featured ColumnistParts One through Three are available onlineat antigravitymagazine.com/tag/e-willy-pIwake up in a dark room. I’m on myback but I’m not too hurt. Wait,scratch that. Oh boy, my lower neckfeels tight, like I’ve been sleeping upsidedown, resting my whole body weighton it. I’m on a mat of some sort of gymequipment-type, like wrestlers would trainon. I check my pockets and none of mystuff is there. I immediately think aboutthe cash and get up quick to my knees andspin around, and that’s when I see the guytied to the chair under a small light, inthe far end of the room next to the videomonitor. He’s not just any guy, though,and as I focus in on him, I see who he is.He’s watching me as his people do. Theysee everyone the same way, these poorbastards, but it’s their job. Right then, themonitor comes to life as well. I see a faceI recognize but can’t quite place, and thenit hits me real quick where the hell I am:right in the middle of a big mess.It is the leader of the Ganderthals,Tobe Wannason—aka The Operator.The Operator was his online handle buthe gave it up and outed himself, at thesame time adopting a completely isolatedexistence. He has never been known to bein public, ever. He lives his life in seclusion,online. He leads the Ganderthals behindthese walls, or from behind whateverwalls he’s behind on the other side of thecamera. Right then, the tied-up fellowspeaks up: “Great. Maybe now that you’rehere, Harry, I can figure out what the hellis going on.”“Officer, please stop speaking. HelloHarry. We’re quite sorry about thecircumstances of how we brought youhere, but we had to act quick for yoursafety and ours. I believe you knowOfficer Hallis.”“Well, I can’t say I’ve ever met him, butyes, I know who he is.” I say. The officerjust stares. He seems neither guilty norrepentant. It’s almost like he’s on duty andhas a gun trained on a criminal, waitingfor them to make their next move.“Yeah, I know you, Harry. We all knowwho you are. If you are as fair as you sayyou are, you’ll make sure you let themknow where I am when you get out.” Hisvoice starts to waver with a bit of fear andrises quite a bit. “These terrorist bastardsgot the wrong idea; they can’t just pullstreet justice on a cop like this. They’llnever get away with it. YOU HEAR ME!?YOU’LL NEVER GET AWAY WITHTHIS!”“Never get away with what?” Tobe asksflatly.“Kidnapping, for one!” Harris squawks.“That’s a crime.”“Officer, you’re going to talk to us aboutcriminal conduct?” Tobe retorts andquickly gets the silence he wants.“Well, what the hell do you want withme? Where’s all my stuff ? What’s thishave to do with me and Norma?” I ask ofThe Operator. A door opens and a faintpink light peeks into the room.8The Rational Radicantby E WILLY P illustration RYAN BLACKWOODTUMBLING THROUGH BLACK (PART FOUR)“Go through that door, Harry,” saysTobe, and the monitor goes black. I getup and wearily get my balance. A blacksilhouette peers from behind the door, afemale shape, very frail and thin, with along blonde ponytail hiding from beneathan all black outfit. She watches me steadymyself. She has a tray of food and an AK-47 on her shoulder.“Don’t forget about me, Harry. Makesure you tell them where I am. We’re onthe same side, Harry. We’re on the sameside!” The door closes and I here the AKget cocked. I listen by the door.“Same drill, pig! I put the food on thetray, the tray goes in front of you and youeat like a pig. Any funny stuff and you dielike a pig.”A door on the other end opens andanother figure stands there. “This way,Harry,” the voice says. As I make myway, I hear a buzz getting louder, peopletalking, like an extremely busy office.I walk through the doorway and see acommand center of sorts, but there’s nomilitary uniform, just a hodge-podge ofpeople, some in all black, some lookinglike they belong in a fashion or musicmagazine, some looking like regulartypes. There are monitors on the wallsof live video feeds from around town,obviously tapping into the existing policedepartment and various businessesCCTVs. I realize the person at the end ofit hits me realquick where thehell I am: rightin the middle of abig mess.the hallway has been behind me, silentlyletting me take it all in. I try to turn backaround to look at them but my head isstopped slightly by a gentle, yet firm handthat also motions forward. “This way,Harry, through the large door.”It’s a garage door, about 14 feet high,like the ones you’d see on the outside ofstores in bad neighborhoods that lockup overnight. It’s been either hastily orcrudely installed. As I walk though thebig doors I feel everyone now watchingme. The garage door closes ominouslybehind me. I’m in another dimly-lit roomwith a large red curtain splitting it in half.Suddenly, the lights come on and I’mgiven a rather comfy leather wingbackchair to sit in. The Operator speaks frombehind the curtain and his voice is veryloud: not amplified, just booming. “Again,Harry, we apologise for the way we’vebrought you here, but we do want you toknow we wish you no harm.”“Well, I appreciate that, and I do realizeyou are either sharing an amazing amountof trust... or you are about to do with mesomething that would render my memoryof this place useless.” The curtains slowlydraw open and reveal a good bit ofequipment I don’t recognize—medical,scientific, electronic—all connected toTobe Wannason, who by all accounts hasdone what is so unbelievable but proves allthe rumors of his genetic experimentationto be true. He has made himself twoand-a-halftimes larger than he was. I’mboth awe struck and amused. Before this,he was a five-foot tall oaf that weighed athick 160 pounds. Now I sit and stare athim at his twelve foot tall and what—350,400 pound—self, and he still looks oafishand harmless, like a big giant baby-faced,pudgy kid. He sees the amusement onmy face and a flash of annoyance goesacross his. He turns beet red and quicklygets to business, his color and demeanorchanging instantly. He nods to my escort.I turn back to face them and I’m met witha firm slap on the face.“Turn around,” the escort says. I believethem to be male, but the hand thatslapped me felt frail, small. I turn around;a large white envelope is placed in mychest and I grab it.“These are your belongings,” Tobe says.“You’ll find everything is there.” He looks atme with a strange grin, obviously curiousabout the wad of money I “inherited”earlier in the day.“Do I get to ask what in the hell youwant with me, or at least how in the hellyou’ve become this big?” I ask, gettingtired of the charade.“We trust you, Harry. You’ve done verygood things in the past for like-mindedbrothers and sisters, and we simply wantto warn you. Be very careful: your bossis playing a dangerous game right now,and he’s using you as one of his mainpieces. He is being paid, and we’re notsure yet exactly by whom, but we aresure he is involved in some very shadyand questionable relations, politically andlegally,” Tobe finally says.The Ganderthals have proven to havetheir hands and computers on moreinformation than anyone gives themcredit for. Hearing this about my boss...well, let’s just say it doesn’t come as such asurprise. When it comes from a man whohas made himself over twelve feet tall andis the head of a growing global body ofinformation and intelligence, it strikes anerve. “What did you do with Norma?”I ask.“We don’t know, Harry. She wasn’t therewhen we arrived,” Tobe says, lookingaway. “We’ll be watching you, Harry,but unfortunately we can’t offer you anysafety.”“Safety from what?” I say.“We’ll be in touch.” He nods towardsthe escort and everything goes blackagain.

(photo by Amy Martinez)9

photo by Kevin ComardaWeird Al Yankovic by Joshua BrastedR. Kelly by Joshua Brastedphoto by Kevin ComardaPortugal. The Man by Kevin ComardaDavid Byrne and St. Vincent by Joshua Brastedshow when I was jolted awake at 3a.m., missing the first half of the set. Iscraped myself together and booked itout there with the rest of the walkingdead, but I couldn’t trick my brokenbody into keeping me up much longer.SaturdayAfter a 16-hour day and thinking you’vebeaten the experience, you reach for yourschedule and realize you are doing it allagain today. With a hot cup of “sleepwhen you’re dead” mentality and anarmful of morning AG newspapers forthe campers, I headed out to my firstpress conference of the weekend. It wasto feature a special performance fromPortugal. The Man who arrived onlyhours before. The stripped down set, foran audience of about 30, went over welland sounded great, but I don’t think Ifully grasped the scope of the intimacyuntil soaking in their big stage set thathosted about 20,000.To fill the rest of my day, I juggleda medley of standout acts. DirtyProjectors dazzled with sweetharmonies, while Weird Al Yankovic(complete with costume changes) playedthrough “Smells Like Nirvana” and livedout his “Amish Paradise.” Nas reached allthe way back to Illmatic and, with jubilateddisbelief, celebrated his love for hisdaughter on her 19th birthday. I even11

all photos this page by by Kevin Comardacaught a little bit of R. Kelly rippingthrough “Ignition.” He proved why heis still one of R&B’s smoothest malevocalists and I have to admit, releasinghundreds of inflatable white doves at thecrest of “I Believe I Can Fly” was a prettysweet touch.With the sun fading and the breezecooling, I knew it was time to honor myappointment with Björk! Those of youwho know me can attest to the weightthat this show would carry for me. Anunusually thin crowd gave way to frontand center viewing. This was it! Wefinally made it and a lifetime’s worth ofanticipation was killing me! Surroundedby a live drummer, a productionprogrammer and a female choir whodoubled as backup dancers, the queenpresented herself in a mask and dress thatradiated femalien royalty. Her sea urchinthemedget-up matched the animatedvideos that played perfectly in tandemwith the setting sun. And when the sunfinally disappeared, she turned the stageinto a dance club with “Náttúra.” Sherequested that no photos or videos betaken during the show and encouragedundivided participation. The set listweighed heavily on songs and themesfrom Biophilia, but also peppered infavorites like “Hidden Place,” “Hunter,”“Jóga,” “One Day” and “Bachelorette.”The drum and bass production on“Hyperballad” swallowed me whole andin that moment, nothing else mattered.Repeated shivers down my back told meloud and clear: this was the highlight ofmy weekend!SundayI was determined to finish this thingstrong, but having survived what isalready a physical and mental whirlwindthus far, how do you begin to muster athird wind? For starters, I sat in on anair-conditioned press conference thatfeatured members of The National,Divine Fits, Edward Sharpe andthe Magnetic Zeros and Bob Saget.Bob talked about his bipolar fame of“TV dad versus raunchy comic.” “I’mtripping right now!” he proclaimed.Afterwards, I got to meet and take apicture with him. He was a really nice guyand even cracked a joke with me! Fromthere, I dragged myself from stage to tentand back again to see everything fromA$AP Rocky and Tame Impala toKendrick Lamar and The National.My much-needed shot of adrenalinefinally came in the form of the alwayscolorful David Byrne and St. Vincent.Byrne was as animated as ever and bothare just natural-born performers. As theybanged out Talking Heads classics like“Wild Wild Life” and Annie Clark’ssmoldering “Cheerleader,” they flauntedchoreographed dances that literallyrevolved around their extensive brasssection. It was so perfectly theatrical thatyou could almost see them becomingcharacters in their own play production.Just as I predicted in last month’s preview,“Burning Down the House” immediatelyfollowed Clark’s “Cruel.” Both wereglorious and all I could do was turn intoa puddle of silly grins when I saw my‘Roo intuition, once again, unfoldingright in front of me. Sunday’s closer wasnone other than Tom Petty and theHeartbreakers. This would be theirsecond Bonnaroo appearance and mythird time seeing the classic rockers. Whatcan you say that their career hasn’t saidalready? When you go see Tom Petty, it’salways going to sound amazing and he’sgoing to cram about 25 hits into a twoto-threehour set. This time would be nodifferent, and I never get tired of hearing“Don’t Come Around Here No More”or “Free Falling.” In typical Bonnaroofashion came the Sunday night drizzle, sowe decided to call it an evening and enjoythe rest of the set from our campsite.Every year it seems to rain on that lastnight and into the next morning, whichmakes for a slightly messy breakdownand pack-up. It’s almost as if the rainis absolving those last remaining bits of‘Roo. But it’s not until you wake up tothe echoes of soon-to-be drivers offeringto shed the last of their weekend stash,or until you take down that last soggytapestry, that you know— it is done andit’s time to get back to the realities of ourhuman condition.12

y M. BEVISphotos GARY LoVERDECreepy Fest is a snapshotof where the scene is atthat year, at leastBill Heintz is a busy guy. He’s one of the masterminds behind Creepy Fest, a four-day-long localhardcore and punk music showcase that stretches over seven music clubs throughout the city of NewOrleans. Virtually every aspect of Creepy Fest has Bill’s involvement, from the design and execution ofthe posters and t-shirts to booking the huge roster of bands and playing in a handful of the scheduledacts. A prolific graphic designer, his art has graced hundreds of fliers, album covers and of course allofficial Creepy Fest promotional items (as well as last month’s ANTIGRAVITY cover). He’s also anin-demand musician in hardcore punk circles, playing drums for The Pallbearers, (who are celebratingtheir 17th anniversary this year) The Split () Lips and Dummy Dumpster. He also plays guitar in TheBills, which are closer to old surf or garage music than the aggression of hardcore punk. I was able toget a moment out of his schedule—literally right before a band practice—to ask him just how and whyhe does it all.The BillsI know that Creepy Fest hassomething to do with localunderground film studioTerrorOptics; can you give me someinfo about the connection?Bill Heintz: Basically, that’s how it allstarted. The first year of Creepy Fest, meand my buddies in TerrorOptics had justfinished a film called Creepy Dean, and forthe soundtrack we had used music from abunch of local punk and metal bands. Wehad about 13 or 14 bands the first yearand we put them on the soundtrack, so itwas really a CD release festival to promotethe bands, the movie and the soundtrack.We would show the Creepy Dean film ateach of the gigs for that first fest and itjust kind of kicked off from there. Nowit’s a big punk fest but we still incorporateshort films as well.Considering that TerrorOptics hasfilms currently in production, willthe acts at this year’s Creepy Festbe featured on soundtracks forupcoming features?We are working on Attack of the CockfaceKiller Part III, but when it comes to thesoundtrack, we would really only includelocal bands. Basically over the years wehave incorporated out-of-town bands,bands that just seem to be touring throughat the time. So I’m usually booking thefest around February, right around MardiGras. Once I get the clubs to sign on, thebands come next and a couple of monthslater it’s time to start promoting the show.There’s definitely an emphasis onlocal New Orleans acts. Is this adeliberate booking policy, or doesit just happen that way because ofhow many bands are actually herein town?Sort of. I mean, the original purposewas just to have an annual punk musicfestival in New Orleans. You have a lotof bands that will break up, then re-form;or members of a few different bandswill start a new act, so Creepy Fest is asnapshot of where the scene is at thatyear, at least. We do purposely use a lotof New Orleans bands; we want it to be abig local show. But like I said, we do havesome touring acts as well.Seeing as how Creepy Fest hashosted almost every workinghardcore punk band in NewOrleans over the last five years,what’s your take on the local scenehere?I feel like right now it’s great. In the lastcouple of years it’s snowballed; there’s alot of new bands, a lot of genre-crossing,which is good. After Hurricane Katrina, ittook a few years for everything to fall backThe Bastard Sons of Marvin Hirschinto place, but now I think it’s going reallystrong. I mean there’s definitely shit tocomplain about, [laughs] but I try to lookon the bright side. Overall though, I’d saythings are going really well right now.Because you book Creepy Fest overa weekend and through multipleclubs, are there specific venuesthat you work with every year? Andconsidering the fact that hardcoremusic isn’t exactly popular withsome people, do they alwayswelcome you back?I’ve stuck with the clubs that have beengood to the bands over the years: SaturnBar, Checkpoint Charlie’s, Dragon’s Den,Siberia, The Big Top and Circle Bar.Those are the same clubs we were at last14

ClassholeDie RotzzDie Rotzz are one of the longest-running and more together acts playing Creepy Festthis year. Their fuck-all attitude and formidable chops propel raw tunes that are asviolent as they are enjoyable. As punk as it gets and then some.Thursday, July 11th at Saturn BarClassholeWhat else can be said about this hardcore “supergroup” that hasn’t already beenscrawled on bathroom walls all over the city? Matt Russell, Gary Mader, Grant Tomand Paul Webb will be showing the newer kids how it’s done, by guys who have playedmore than their share of hardcore over the years.Thursday, July 11th at Saturn BarHeadwoundzyear, so it’s sort of stabilized. We don’treally want to move into the big venues.I think the heart of the scene is seeing ashow at two o’clock in the morning, youknow?What are some of your favoritemoments from past Creepy Fests?And have there been any badexperiences? Anything you wouldn’twant to see again?It’s hard to say. They’ve all been great andI tend to look at it as a big picture.Thelineup of bands gets better every year andjust seeing it all go off well, with everyonehaving a good time makes it for me. Witha festival like this, you know there’s goingto be a lot of chaos. I’m used to it. Theonly thing I haven’t liked was last yearwhen the city started going after clubsabout music permits, then shut down oneof the clubs we work with. So we had tomove the entire schedule over to anotherbar, who were cool, but they’re not reallyinto punk rock so... [laughs]Since Creepy Fest is so linked toTerrorOptics, have you guys evertried to record the fest? Mayberelease a live CD or DVD?Yeah, I’d love to do it, but it really comesdown to a financial issue. Our sponsorshelp us with promoting the show and thegigs really pay for themselves so there’snot much left to work with afterwards.This isn’t a financial-gain sort of thinganyway. But I would love to put outsomething like a Creepy Fest samplerevery year. It’s just a matter of time andmoney.You’re involved in almost everyaspect of production for the fest.How do you find the time to do itall?Things have just taken off over the years.I definitely don’t get a lot of time torest. It’s all stuff I want to do, so that’smy motivation for doing it. I mean, Icould sleep, but then the CDs come inthe mail or the fliers get printed andI’m going again. I usually get some timeafter Creepy Fest though, that’s wheneverything seems to come to a head.Creepy Fest will be held on July 11 through the14, all over the damn place. For a detailed list ofbands, dates, times and places, check out facebook.com/creepyfestThe PallbearersThe undisputed kings of gore-drenched local hardcore are celebrating their 17th yearin existence. Expect possible nudity, lots of profanity and a monster set list. Essentialviewing for the Creepy Fest devoteé.Friday, July 12th at Checkpoint Charlie’sA HangingNobody does crossover metal/hardcore here at home better than A Hanging; nobody.Their set should be as intense for punk fanatics as it is for thrash maniacs alike.Friday, July 12th at Checkpoint Charlie’sMaggot SandwichThe legendary hardcore group from Florida is back and just as manic as ever. Take afun, frenetic trip down memory lane with a band that your parents probably skanked inthe pit with, back in the ‘80s when it was still called skanking.Saturday, July 13th at SiberiaThe SlutsAs close to the real thing as anyone will ever get. Frontman Dee Slut will most definitelystorm the stage with 100 feet of microphone cord in hand, only to wind up singing outin the street or beyond. The first, most trusted name in local punk rock and still one ofthe best live shows you’ll ever see.Saturday, July 13th at SiberiaThe UnnaturalsAlthough we don’t get much in the way of rolling dunes or crashing waves here in NewOrleans, The Unnaturals have found a way to bring their surf-inspired instrumentalrock all the way home. If you need a break from the angst and ferocity of the majorityof the acts featured at this year’s Creepy Fest, this is your band.Sunday, June 14th at Circle BarThe Split () LipsIt’s a well-established fact that ladies can rock just as hard as the guys. And when itcomes to the Split () Lips, they can be just as raunchy and hilarious as well. Theirirreverent, estrogen-laden hardcore is in-your-face and all-out fun.Sunday, June 14th at The Big Top15

intro KEVIN BARRIOSinterview by KEVIN BARRIOS and KEVIN COMARDAphotos courtesy of KEVIN BARRIOS and MIKE LEVINI’m always sort ofbumping bottomand bouncing backI credit Chris George (of the Living Room Studio) as the sperm that lead to the birth of my relationshipwith Mike Levin. In the summer of ’95, Chris had just returned from stumbling upon Shyster at theTampa leg of the inaugural Van’s Warped Tour. He told me they were going to be in town to open forFace to Face and Guttermouth at the Rendon Inn in a couple of days and insisted I see them. ChrisGeorge’s words weigh heavy with me, because not only does he have impeccable taste, he could alsobuild you a new heart out of an old toilet paper roll if you needed one. It would totally work andwould probably have some killer racing stripes painted on it. So I looked past my disdain for all thingsGuttermouth and went to see what Shyster was all about. I’d seen some incredible acts at the RendonInn—Jawbreaker, the Descendents, All, Smoking Popes—but this energetic burst of guitars, high speed,crazy technical drumming and raspy, intelligent vocals were certainly not outclassed. Their debut LP,Say Uncle lived inside my CD player. Songs like “Hum,” “Ride,” “Gutwrench,” “Follow” and“Homecoming” were staples on my mixtapes.Months later, Deborah Toscano of Devil Dolls productions put on a Shyster show at Monaco Bob’s—where they headlined after talking their way into an opening slot on the Ten Foot Pole gig happening atthe Faubourg Center earlier that night. Despite playing to a huge crowd hours before, they still broughtincredible energy and enthusiasm to tens of people. I felt like I was Tony Wilson seeing the Sex Pistolsfor the first time, like I had stumbled upon the next big thing in its infancy. Since most of the punk rockcommunity was on Frenchmen watching Epitaph’s flavor of the month, I took the opportunity to talkMike Levin (guitar/vocals) into letting me book their next NOLA show.We did a few shows together and they crashed at the original Living Room Studio (when it was still aliving room), but they soon lost members and had to regroup, a theme that has since re-occurred in Mike’slife as a songwriter. Despite releasing February, a follow up to Say Uncle on Man’s Ruin, Shystersoon fizzled into obscurity.In the early 2000s, Mike had put together a primitive version of The New Lows (featuring a fewShyster replacement players) for a short tour, which included a stop at the Dixie Taverne. Much likeShyster before it, this formation also faded away and Mike moved to New York to get his mastersdegree. He became an English teacher, but never stopped writing and trying to find some way to keep aband together, a real struggle in New York. In 2008, en route to and from his step-brother’s weddingin Indonesia, he visited me in Singapore. I introduced him to nasi padang (a coconut milk, spicy chiliand curry-infused cuisine from Indonesia). We ate our way across the island and biked across a smallfishing village off the coast. He left me with demos of his new songs, which blew me away. WhenMike returned to New York, he went into the studio to record with Wes Snowden (Shyster’s originalbass player) and Russell Simins, a hired gun of a drummer who is best known for his work in the JonSpencer Blues Explosion. I was working for the Singapore branch of Bunch Design and Branding at thetime, which lead to me designing the packaging for this record, Atlantic/Pacific.The stress of trying to keep a band together and a long-distance relationship led to Levin moving backto Orlando. After some initial band member juggling and the violent death of another, he was ableto construct a four-piece that was made up of friends and even Snowden, who had also returned toOrlando. Last year, he brought Snowden, Bobby Pino (guitar/keys/percussion) and Greg Lightfoot(drums) to the Living Room Studio to record some of his best work yet, I Couldn’t Sleep. The albumembraces his punk roots while exploring several other avenues, like mixing one part dance to one part stiffdrink (to chase the depression away). I Couldn’t Sleep is gaining more attention and momentum thanany of Levin’s previous efforts, which I would credit to the songwriting—had that not always been there.Instead I’ll credit Craig Mazer who, like me, grew tired of watching this songwriter go unappreciatedand does what he can to change that. Craig has taken on the role of manager and has directed all of theNew Lows social media since the days of Myspace. He was also instrumental in nudging Bryon fromKiss of Death Records to release I Couldn’t Sleep as a 12” in time for their summer tour, whichculminates in New Orleans this month. Fellow AG contributor Kevin Comarda and I had a phone chatwith Mike about how he writes, how he wishes he could write, his rotating door of bandmates and whatit’s like being a Socialist novelty and a real life version of Dewey Finn.Kevin Barrios: Shyster was oneof my favorite punk bands of the‘90s. You guys played the first everWarped Tour [1995] and touredwith huge draws like Face to Faceand Guttermouth. I was alwaysperplexed as to why Shyster neverwent on to greater commercialsuccess in that Fat Wreck Chordsand Epitaph era of dominance.What do you think happened?Mike Levin: That’s a good question. It17

Mike Levin and Geoff Lackey in the Shyster daysthe main differences in this bandsince the shift in area codes?Atlantic/Pacific was really just me workingon a solo album. I played with a milliondifferent people in New York, lots and lotsof combinations. When I started makingAtlantic/Pacific I really didn’t have anyonein the band. I got Wes [Snowden] fromShyster, who had been living in New Yorkfor a while—but we had never talkedabout playing together. When I told himthat I really wanted to make this album,Wes got onboard to do that. I didn’t havea drummer so I put an ad on Craigslist—everyone I met in New York was justCraigslist, Craigslist, Craigslist… so thenthis pseudo-celebrity, Russell Simins [JonSpencer Blues Explosion] contactedme and said he wanted to play; I hiredhim to make the album. The bass tracksand drums were recorded in a studioin Midtown, which was like an officebuilding. It was all hurried and stressful,Within the last year and a half I’veopened up for Smoking Popes and theForgetters [Blake Schwarzenbach ofJawbreaker’s current band]. Both ofthose times were so special for me. I hadreally cool conversations with peoplein bands that I have just eaten up theirshit—not literally—but I have just beenso influenced by them, so impressedand so emotionally affected by SmokingPopes and Jawbreaker that to have playedgood shows with them and have themin the audience for me and me be in theaudience for them, I was just ear to ear.Especially the Forgetters show becausethat just went so well and it was reallycool conversing with Blake... And goingway back in the day, doing the WarpedTour was pretty unbelievable. Just thesheer volume of people, having that hugecrowd moshing and going ballistic wasunforgettable. It was one of those “I can’tbelieve this” moments where I can dodoing the Warped Tour waspretty unbelievable. Justthe sheer volume of people,having that huge crowdmoshing and going ballisticwas unforgettable. It wasone of those, “I can’t believethis” moments where I cando nothing but just smilelike an idiot and try to playcould have just been that people withpurse-strings and connections didn’t thinkwe were all that. A lot of it probablyhad to do with timing. We did tour, but Idon’t really know. Maybe we didn’t haveenough tattoos. Also, we were kind ofweird and didn’t really fit into any specificgenre enough. We were an emo bandwith a punk rock drummer, so maybe thatthrew people off... We did lots of coolstuff, but touring got a little depressing.After being on the Warped Tour, we didtours by ourselves that didn’t go very well.Then people started quitting. We werealso changing a lot. We didn’t stick withthat Say Uncle sound for very long. Maybeif we did another album like Say Uncle,18someone would have taken note.Kevin Comarda: And whathappened with the originaldrummer?Geoff [Lackey] left Shyster to join DieselBoy and that took a little wind out of ourproverbial sails. I didn’t realize at the timehow big Geoff was in our identity. He toreit up. We had good drummers after that,but we could never replace Geoff.KB: You released Atlantic/Pacific(The New Lows’ second LP) whileliving in New York, and I Couldn’tSleep was released years later afteryou returned to Orlando. What arebut they had really nice equipment.Then I went to a really beautiful studioin upstate New York called the Artfarm,in an old renovated barn in the woodsand finished the record there, which wasreally just me by myself. Atlantic/Pacificwas a product of that hodge-podge. Itwas disjointed and really a studio project.It wasn’t a show band at all. You can tellfrom the product... Then I came back[to Orlando] and it was just all aboutgetting with friends. I started playingwith my friends Mickey and Matt whoboth quit. Then I had Ralph [Ameduri]and Ralph was shot in a robbery, so Iwas by myself again. It always happenslike that. So I started grabbing more ofmy good friends to play with me. Weplayed a tribute to Ralph and that leadto a bunch of shows. Six months laterwe headed to New Orleans to make analbum in a totally different way. I Couldn’tSleep is more organic. It’s more like abunch of dudes that hang out all of thetime and play shows together and wentto bang out a record. It was a totallydifferent effect. In terms of the style, theyaren’t completely different. Both haveobligatory Americana numbers [laughs]and some punk rock numbers. I Couldn’tSleep has a little more of a punk rock edgeto it because that’s where I was personallyat that time. I wanted it to be more rawand more live sounding.KB: What moment as a musicianhas made you the happiest?nothing but just smile like an idiot and tryto play. [laughs]KB: What’s been your lowest point?Mmm, there’ve been a million. Whenband members quit, especially ones thatyou have been playing with for a longtime, it’s difficult. You always have torestart and restart and restart. The recordrelease show for Atlantic/Pacific...was awful.It was a real low point. I had come down[to Orlando] from New York and playedwith the New Lows in Orlando and hadgreat shows in the past. But somethingabout this date and everything elsecoming together… it was on July 4th,which for some reason I thought peoplewould be out, but there was nobody there.It was a lot of work and energy involvedto put this record out, then to have a showin a hometown scenario and then to feellike nobody actually gives a shit at all...but I go through that cycle of self-loathingregularly. I’m always sort of bumpingbottom and bouncing back... Theexperience with Russell Simins was kindof depressing. I realized that the wholeproduction and recording in this officespace was outside of my control; it wasn’tfun. So to be spending all of this money tomake a record that wasn’t fun... and I hadone rock star band member that didn’tgive a shit about anything and anotherwho was a good friend, but who was notinvolved in the project that much at thetime and had all kinds of other shit goingon, I felt like I was just kind of scraping

y. I did so much of the shit on my ownthat it made me realize that I reallyneeded someone else to play with. I’venever really considered quitting becauseyou’ve got to eat; you’ve got to play.KB: Speaking of low points, howdid Ralph Ameduri’s death affectthe band, and how much did hematter to you and Orlando?Oh my god; yeah, when Ralph was killedhe and I were the only people in the band.I was so excited to be starting over withRalph, and then to have that violentlyripped away, it was a shocking loss. Itwas probably the most depressing thingI’ve ever experienced, but it was also amoment of inspiration on a musical andartistic level because I knew that losingRalph only meant that his presence wasgoing to be even more significant becauseof what he meant to everyone in Orlando.He played in and recorded numerousbands of all sorts of genres. He’d alsorecord young kids who were in punkbands. His tastes ran in every directionand he was so generous. He was all overthe Orlando music scene from everyspectrum. He was a little older than me.He was in his early forties when he died,and it was inspirational to have someonethat was a little older who was so wrappedup in making cool shit. I recorded inhis house many times. He wasn’t like asuper gifted studio guy, but he alwaysworked his way through problems. He wasphenomenal. A real special guy, it’s crazythat it’s been over a year now.KB: I Couldn’t Sleep musicallymixes some really danceablepoppy tunes with some somberdirges, but is predominantly dark,lyrically. Yet, when I think of MikeLevin the person, I think of a verycheery, positive and likable guy.Is this contradiction the result ofour natural male tendency to notwant to burden others with ourproblems, or is it just that thosemoments of struggle breed ourcreativity?I’m usually not shy about burdeningpeople with my problems. [laughs] Ichannel a lot of [my problems] into themusic, so it gives me the opportunity towork shit through like that. I’ve alwaysseen the music as my therapy. It allowsme—when I’m playing shows andworking on songs—to feel just fuckinggreat about my life because it becomes sofocused on this creative process that otherpeople can listen to and just to satisfymy own needs. I haven’t found a lot ofjoyful type of inspiration in my writing,even though it’s always there too. Evenin the gloomy ones there is an awe oramazement at what living is all about evenin its darker moments. The number onething that I like to consume in terms ofculture is dark comedy. I don’t really get alot of humor in my songs for some reason.I’ve always wondered why I don’t, butinstead I go for darker amazement. It’snot suicidal, it’s mixing in the gloom withinspiration…as represented in Ralph’sdeath: the horror of it, the sadness andmisery but also the re-recognition of thecraziness and beautifulness of everythingthat’s around us.KB: Being a liberal Jewish guy whocut his teeth in the punk sceneand still spends his nights andweekends playing gigs in bars—while spending your days teachingin a conservative Christian school—what kind of issues have arisenfrom this duality?The school views me as this cuteexception. The kids like my rebelliousspirit, and because it is a private school,as long as the kids and parents are happy,the administration is happy. I have beentalked to a couple of times by my bossesabout the “socialist” maybe, “antipatriotic”rhetoric that I purportedlycould be espousing. Kids are freethinkers;I don’t care if they are conservative ornot. They shouldn’t just accept thingswithout question. There has been a littlebit of conflict and maybe I sometimesfeel a little too free to speak my mind, butwe all have to censor ourselves to someextent. I do feel relatively free to questionauthority and run my own show in theclassroom, so I have to give my schoolcredit for putting up with me.KC: When you were working onthe record, you told me aboutthe School of Rock club you hadstarted. Is that still going on?Yeah, we meet during the last 40 minutesof school on Fridays. We’ve been doing itfor four years now and it has really builtits own momentum. It’s our own littleJack Black, School of Rock deal. We playon the stage in the chapel, which is prettyhilarious. We play a lot of Black Sabbathand Ozzy and whatever the kids want todo. It’s tons of Green Day. We do a show,which is amazing because the whole middleschool is jammed into an area wherethese other middle-schoolers are freakin’putting on their rock‘n’roll routine. It’s abig gift; it’s a big ego boost. It’s straight upsheer pleasure for all of these kids that justget to stand up on stage and play for theirpeers. We usually have three to five bandsthat get formed with interchangeablemembers. I let the kids choose what theywant to play. It’s their club, but I have putmy foot down for one song despite theirconstant complaining about it and that is“Kryptonite” by 3 Doors Down. [everyonelaughs] That is the only song I’ve ever shotShysterdown. I mean, we have to listen to eachsong about 120 times while they learn toplay it, and I just can’t go there.KC: Do you think much of theimportance of that class is tohelp them get over some of theirshyness?Totally. It’s the end of the year now andI just received a note from a student thatsaid, “Thanks for your English classesit’s been cool, but mostly thanks forencouraging me to get in front of myclassmates and sing because it was a reallyimportant and memorable thing for me.”So that’s really cool. We started this fouryears ago and this is an 8th grade club, sonow we have kids that are seniors in highschool who are alumni of the program. Ireceived a text message from one of myex-students who said they were playinga show. I went to a venue in Orlandoand saw two of my School of Rockersplaying in two separate bands and theywere both really good. This one kid thatI had just taught some bar chords to wasjust shredding like Yngwie [Malmsteen].To be able to pass on inspiration like that,it’s fun. It’s really cool. That’s anothergreat thing about that school: whileit is conservative, wealthy and mildlyChristian, they let us do this School ofRock thing and they don’t wonder whatwe’re singing about. I don’t need to cleara set list or anything.KB: If you are involved in anycreative field there will always bea moment when you hear or seesomething created by anotherartist that makes you wish you hadthought of it. What is the momentfrom any song that gives you thebiggest “I wish I had written that”feeling?I know it’s so outside of my ability orculture or whatever, but the Wu-TangClan and their brilliant wordplay,it’s just—how do they do that? It’sstaggering; I wish that I had some of thatability. Wu-Tang has a way of playingwith words that seems often on the edgeof inventing new language. In that senseI’ve always greatly admired the album AllMost Heaven by Will Oldham. On that EPhe just invents words from sounds like Ido with songs before I’ve written lyrics,but he holds them up and writes themout on the insert: “All day so they bogeand doh boh/ when they call the nameof they sing and they/ I mahl bahl/ hopethey leave and fall again.” It’s ridiculousand liberating and fun to sing becauseusually meaning sucks. I had formerstudents in a band—a duo synth popoutfit called Cherry and Marmalade—and they in their infinite youthfulwisdom and naïveté had a song called“Song with a Meaning.” I thought thatwas brilliant. Also to add other heroesinto the mix: Blake [Schwarzenbach],“I lost all my thoughts of angels in anaspirin billboard.” And later in that song[“Housesitter”], “I keep creating errandsto talk to people to talk to me/ but stillnothing human, money changes hands isall/ this life’s a broken record skipping onthe carpet no response.” And the way thesong builds a momentum and catharsiswhile peddling in impotence and futility.That’s my jam. Smoking Popes makeme jealous with their unique mannerof using irony and humor to approachwhat’s really real, in ways that make mysincere articulations seem silly. “Not thatkind of girlfriend” when he exclaims“I don’t want to fall in love ‘til I’m 35!”His send-up of modern love has addedmore than anything to my [momentsof] hopeless romanticism. The wry wayin which the Popes satirize and love thesame idea in the same lyric is open andintimate on a level that boils my noodle.It’s the most sincere irony I’ve heard in apop punk band.The New Lows will play the Circle BarSaturday, July 6th with Lovey Dovies,BLCKBLT and the Self-Help Tapes. For moreinfo, check out thenewlows.bandcamp.com19

BACKROOMROCKwe’re accused of beingderivative of bands I’venever heard ofDo you remember what it felt like the first time you heard your favorite music? I was 14 and had beenlistening to a lot of metal bands. it was typical stuff like Metallica and Slayer. One day my friend,Christian Barnes, came over to my house and changed my life with two words: punk rock. Ramones,Descendents, Black Flag and a ton of other American and British bands just took over my life.I’d never been moved so much in my young life. I thought I knew what aggressive music was before, butthis was better to me. These guys weren’t singing about religious stuff or gory murder shit. They weresinging about everyday life. The music was gnarly and I could relate.As time passed and my punk collection grew, I saw a real downhill slide. More like a straight nosedive.I saw punk rock get taken advantage of. So much bad music attached itself to the genre while totallyhaving nothing to do with it. In my opinion, there is a punk sound and once you have enough sub-genres,the sound is lost. Back in the ‘80s, crust would’ve been called cross-over and in the ‘90s hardcore turnedinto shit that was nothing but breakdowns. For a long time I missed bands that sounded like and justwere punk rock.On the Gulf Coast, two dudes and their bands are really capturing the heart and root of it all: BuckBiloxi and the Fucks and Gary Wrong Group. When I first heard these two bands I was excited. I hadbeen missing Gary Wrong’s previous band, Wizard Sleeve. I knew that Gary was into different soundsand always surrounded himself with like-minded musicians. I couldn’t wait to hear what he was up to.Featuring Benny Divine on drums and Casio, Weird Steve Kenny on white-noise-frequency-screechingdrum-machinething and Mr. Quintron on percussion, Gary Wrong Group slays with spacey, scary, darksongs. I mean, it’s not easy to describe it. Flipper versus Suicide? Do you even know what that means?Me neither.Buck Biloxi, on the other hand, was an unexpected treasure; I just stumbled upon them at Saturn Barone night. And it was perfect. Truly raw, late ‘70s killer punk. As of late they’ve really gone places,playing a handful of killer fests and releasing a good chunk of songs with 7”s on both Orgone Toilet andPelican PowWow records. There are few bands out there that can really nail that no frills sound, totalglue-sniffing idiot (and rad) punk rock. DeeDee would be proud.GARY WRONG GROUPTell me about this record, Knightsof Misery.Gary Wrong: It’s our LP out on TotalPunk and Jethro Records. Jethro is mylabel and this guy Rich runs Total Punk.I stole the name from this old swamp popguy named Johnnie Allan. My favoritesong of his is called “Knights of Misery.”It’s a very tortured song.And the LP actually is total punk.It’s layered with all these tones anddelays. How do you describe it?It’s nasty... I don’t know, man. It’s justSouthern punk with a lot of crazy shit.Did Mr. Quintron have a lot to dowith the sound of the recording?It was a mixture. I’d record a track, thenhe’d add to it and vice versa. We did it atmy place in Mobile and at his house inNew Orleans, the Spellcaster Lodge.Do you think that the Southproduces a distinct sound, whetherit be metal or punk?Yeah, of course. I mean, it did a lot morebefore the internet. Now everybody hasaccess to everything. It kind of cheapensit a bit.Whenever I go out of town I runinto so much stuff that you don’tsee a lot of in the South. Like punkswith mohawks and everybody looksall ‘77 or a lot of other people massproducing the psych thing.But it’s all cheap. I think things are justmore real down here. But there are abunch of yahoo fucking losers.When you guys are writing, do thesongs pour right out of you?It depends. Some of the songs have beenaround for a long time and been reworkedand other times we just do them right offthe cuff. But yeah, we can write reallyquick or I can just make it take forever.Sometimes they gotta grow a little bit.I know exactly what you mean bythat. Did you listen to anythinggrowing up that influenced theGary Wrong sound?20

I listened to a lot of Chrome andHawkwind and other weird acid folk stuff.What do you think of all thesebands using Kickstarter forrecording and touring?I don’t like it. I can understand if it’ssomething unattainable. But if you cannot do dope or quit smoking and drinkingfor a month to record a record thenfuckin do it. Or if you’re trying to makea movie or something, that shit’s fuckinexpensive... I mean, if somebody wantsto give me money, that’s cool. But I’m notgoing panhandling for it on the computer.You and I both play in the punk/garage rock scene.Don’t say garage rock. I play in the backroom.what people tell them to like.I don’t want to ask you what’s coolto hear right now. I’d rather ask youwhat sucks. Who deserves to getpunched out there?Aw man, everybody. I mean, it’s differenteverywhere you go but it’s also the same.There’s always good and bad; it justdepends on where you’re coming from.People are morons.Do you feel like people expect youto be a certain way since you’refrom the Gulf Coast?Yes. It’s weird. Like when Kajun SS wentto Europe, people expected us to be alllike Dukes of Hazard. Like where themol’ Duke boys? They expect stuff but youdon’t have to give it to them.I hate saying garage. The garage isfor the car, dude.[laughs] Yeah, it’s back-room rock.I know that in that scene we’ve bothrun into bands that are completelyimage over sound.Oh yeah man. I’ve seen it.Does it bother you when some ofthese guys get any recognition?People are morons. They’re going to likeDoes this band have any plans fortouring in the future?Not really. Benny is always busy, Quintronis busy.And you’re a family man.Yeah, and I run my label.How is it being a father and arocker at the same time?It’s cool! The only limitation really isscheduling out-of-town shows, and whileI love to play out-of-town, getting thereand back without coming out of pocketis pretty hard; and being away from thefamily with nothing to show for it is prettymuch out of the question... usually. Ha ha.Does your daughter loverock‘n’roll?Well yeah, duh... she specifically asks for“the ‘Mones.” On the way to daycare,“Beat on the Brat” and “53rd & 3rd” areher favorites... [I’m] not looking forwardto telling her what DeeDee wrote thatsong about. She really digs MOTO andthe Spits, too. On the way home, it’susually “Daddy, ENO!” Her singing alongto “Baby’s On Fire” is hilarious.Tell me the pros and cons ofrunning a label.The pros are the satisfaction of puttingout music you love for a handful of peoplewho also love it. Cons are the rising pricesat the pressing plant and the United States21

Postal Service.What are your favorite releases sofar?I love everything I have ever released. Inmy mind, there isn’t a stinker in the bunch.You’ve probably started to getpretty good at managing a family,a job, bands, and running a label.Would you go nuts if you weren’tspread so thin? Is all the activitynecessary to maintain sanity?Well according to my wife and severalothers, I am nuts. I would absolutelylove to not be spread so thin but I amsure if something were to give I wouldimmediately fill it will another task.What would you like to see more ofin punk rock?Less rules.BUCK BILOXI AND THEFUCKSBuck Biloxi: Guitar and Vocals * Joe Pestilence:Bass and Vocals * Seth Fountain: DrumsAre guys wasted? Buck lookswasted.Buck Biloxi: I’m fine. I had a few beers.Seth Fountain: I brought beers foreverybody.I’m okay. Have you guys ever heardof poppers? What the hell are thosethings?BB: Uh, yeah I know about them. they’resold as things like VCR head cleaner andnail polish remover. Basically it’s amylnitrate.That’s nuts! People huff it.Joe Pestilence: That’s one use, I guess.That’s gross. I want to say thatI’m stoked on this band. Festivals,a handful of quick releases—howdid you guys manage such ameteoric rise?BB: We’re very prolific.SF: Prolific extreme.JP: We’re very cool. [laughs]How would you guys describe thesound that made you the stars youare today?SF: I would say it’s pretty much a stinkbomb. But in a good way.BB: I just think we’re the best punk bandever. [laughs]BB: We’re better than the Ramones; we’rebetter than Head. We’re better than the...uh...JP: the Beatles.BB: The Beatles aren’t even in our league![continued laughter] The Beatles can’t evencompare to us in terms of being radical orhaving masterful attitude.SF: They didn’t have to deal with oogleseither.So true. Oogles are completely theworst level of shit head.BB: Oogles have evolved to having a hivemindlike the Borg from Star Trek. [loudlaughing]BB: The crusty is still an independentorganism. If you kill the queen oogle, theothers will surely die.What kind of bands actually doinfluence you guys?SF: It’s just playing straight-forward punkrock. I think it all starts with a riff andwhen we’re all here it just comes together.BB: In the press we’re accused of being22

derivative of bands I’ve never heard of.Like who?SF: Like GG Allin.You’ve never heard of GG Allin?!BB: Of course I’ve heard of GG-Jesus-Christ-Allin! Seth is accusing me ofhaving not heard of GG Allin.Seth is always accusing me of notbeing punk all the time!BB: It’s obvious that our songs arederivative copy-cat bullshit. But I’m notnaming bands!JP: Everything is derivative. Everybodyhas influences! Band B sounds like BandA and everybody goes knocking them forit, so it doesn’t even matter.I think you guys have your take ona style more than I think you’reripping off a particular band.BB: I just want to be a regular punk band.Not some weird art crap or extreme subgenre.JP: It’s just basic classic songwriting thatsounds good. The hooks are there. We’renot trying to reinvent the wheel, thoughwe may in the future.You guys have been booked for alot of out of town shows but youhaven’t toured a lot. anythingplanned for the road?BB: Yeah man, we’re going throughthe Midwest and East Coast with ourMemphis friends the Manatees.You guys need to let me drive forthat one.[whole band at once]: Absolutely!JP: you have to drive the long shifts.What kind of stuff would you puton your rider?BB: I would just want there to be someoneto tell me how handsome I look.You mean like respect waiting foryou backstage?SF: Exactly. Just have a guy there to bereally nice to us.BB: If I like a band’s songs, the lookdoesn’t matter. I just want to know wherethey go to get that haircut. What do theytell the person cutting their hair?Your music does enough on itsown. I love the song titles. “I’m aGenius” and “Shut the Fuck Up”are definitely my favorites.SF: And we have “I’m a Disaster” and“Shut the Hell Up.”BB: Yeah, it’s for the kids.Where do y’all record?BB: Right here in my house. I do all theengineering.JP: There is no third party. Everything wedo is completely DIY.That’s awesome. What do you thinkof bands that use Kickstarter tofund their musical ventures?BB: I think they’re pussies. Ask yourmom for money instead of asking me. It’sfucking stupid.JP: Just get a third job! If you reallybelieve in what you’re doing, you shouldjust stay up, do poppers, eat vitamins anddeal with it!None of you guys are New Orleansoriginals. The three of you are fromother Gulf Coast cities. Why do youguys choose to live here?JP: This city is hilarious!SF: This is my favorite city. It’s nothomogenized.BB: It’s the freedom.JP: I like invading other cities with agroup of New Orleanians.BB: They don’t want to be as wild as weare and they don’t want us to be wild. I’mtelling you right now that Buck Biloxi andthe Fucks are bringing Wild Wayne toyour town and we’re getting WILD!!!Buck Biloxi and the Fucks perform as partof Creepy Fest on Sunday, July 14th at theCircle Bar. Gary Wrong Group’s LP, Knightsof Misery, is available for download atgarywronggroup.bandcamp.comThat would make touring prettyeasy. Do you guys notice a moreimage-oriented world outside ofthe South?BB: Yeah, like when we were in Portlandor anywhere, really. All these guys havethese Rod Stewart hairdos. It’s reallyweird.SF: Yeah, it’s like glam punk is making acomeback in the worst way.23

A HANGINGTALES OF WOE(SELF-RELEASE)If you like going to punk or metal showsin New Orleans, chances are you’ve seenthese local thrashers. It’s their first release(that I know of) since Food for Rats cameout years ago, and it comes with a bit of apersonnel change. Alix has since departedthe band, leaving the vocal duties toguitarist Scorilla. The “legendary” BobbyParanoize has since joined them on bassand rounding out the three piece lineup isthe awesome Billy Bones (one of the moreexcellent and consistent drummers thiscity has produced). This short four-song/nine-minute teaser (hopefully a precursorto a full length) goes by really fast. Nolyric sheet included, but with songs like“Crucify Him” and “I’ll Be Damned,”you can guess they’re not singing teenybopper pop love songs. Heavy thrashriffs similar to D.R.I. and deep gutturalvocals that remind me of Mike fromLogical Nonsense. If this sounds upyour alley, you can check out this releaseat ahanging504.bandcamp.com. ––CarlElversANDY KAUFMANANDY AND HIS GRANDMOTHER(DRAG CITY)It’s entirely possible that had there beenno Andy Kaufman, there would havebeen a major delay in the mainstreamingof sometimes uncomfortable humor aboutthe everyday, like the kind Jerry Seinfeldand Larry David brought to Seinfeld andCurb Your Enthusiasm (respectively), Penn& Teller weave through their explainit-allmagic shows, and Lena Dunhamhas put on display in Girls. Andy And HisGrandmother offers a glimpse via selectedtape recordings of Kaufman’s madmethods. Some of them are baldly funny,as in “Andy Loves His Tape Recorder,”a series of objections to his taping ofpeople’s conversations by the peoplethemselves strung together in a rapidfireprogression, and “Andy Can Talk ToAnimals.” Some of them search for theabsurdity in the way we speak and in thethings we consider taboo subjects: “Whyis it that nobody understands that... thekind of conversations that nobody wantsme to tape are the kind of conversationsthat should be taped?” Kaufman exclaimsin the middle of a frank discussion with awoman about sex, conception, abortionand relationships. There are some primeexamples of classic Kaufman put-ons,evident in how he pits two women againsteach other in “(Honk) vs. (Dog) A & B,”and in “Sleep Comedy,” a bizarre takeon hypnosis recordings. Though the bitson this album were not of Kaufman’schoosing, there’s enough on here to holdup to repeated listens and give a fullerpicture of Kaufman’s particular comedicgenius for collapsing the lines betweenreal life and staged hilarity. ––LeighCheckmanBALLZACK AND ODOMSACE N ERNIE(SNOWBALL STAND)The premise of Ballzack and Odoms’first album in years finds the two takingon the personas of junior high-agedkids Ace and Ernie, who embark on apartnership born in a school hallway,fused in “Hobgoblin Demon Drawing”(presumably scrawled in pen on a denimcladbinder, or on the back of a sleevelessdenim jacket), and driven to do one thing:become Satanist heavy metal rock starsin a world more attuned to hip-hop hits.Having satirized regionalism in songs like“Rainbow In Marrero” and in the AvenueQ-puppetry of Lil Doogie, the duo turnsto exploding metal’s clichés in AceNErniewith gusto, putting records on and playingthem “Backwards” for their messages,referencing horror flicks, H.P. Lovecraftand pentagrams at every opportunity, andeven creating some death bounce with“Bounce For The Blood.” This extendedmetal fantasy, as explored through rap,culminates in “The Dark Scary Woods,”in which the two metalheads are facedwith a choice that can only end badly...or will it? More than a comedic romp,AceNErnie’s songs hold up well on theirown musically, keeping the horrors andthe beats going. The biggest problem withBallzack and Odoms’ latest? It’s tough toplay a downloadable album backwards.––Leigh CheckmanBIPOLAROIDSUPERNATURAL BEAUTY(GET HIP)The latest 45 from NOLA pysch-popkeeper of the flame Ben Glover is pure60s worship, without hardly a corner cutin its faithful reproduction of that bygoneera—though it’s hard to find any rightangles on this record or Vikki Vaden’sloopy artwork. Glover claims Syd Barrettas his muse and if you played this recordfor anyone just crawling out of a bombshelter, you might convince them theBritish Invasion is still in full swing. Thetitle track is a blurry-eyed, early morningshuffle (possibly from being up all night),eased along by a few well-placed churchbells and soft background cooing; andthe video (on Get Hip’s website) makesexcellent use of the 9th Ward’s “Endof the World” stretch of levee. Side B’s“Beautiful (In the Morning)” is anotherstudied track in the same vein and teasesthe forthcoming Twin Language LP (also onGet Hip), due in August. —Dan FoxBOARDS OF CANADATOMORROW’S HARVEST(WARP)After an eight-year hiatus and a recentsuccession of cryptic clues and onlinevideos, Boards of Canada have finallyreleased Tomorrow’s Harvest in all of itslong-awaited, gloomy glory. Whilefans of the Scottish IDM duo willimmediately recognize ambient andanalog themes exclusive to BoC, theywill also notice those themes taking on adarker role. Still adhering to a simple songstructure, the 17 tracks on Harvest playlike an eerie backdrop to impendingdoom and the life that is to come afterit. “Telepath” features groggy vocalsound bytes and feels like it was pluckedstraight out of a movie about intergalacticespionage, while “New Seeds” and “SickTimes” are suggestive in title alone, butprovide some of the brighter momentsof the entire album in tone. As weavingoscillators and choked-off beats continueto swirl out of their cache of handcraftedsounds, tracks like “Nothing is Real” and“Palace Posy” almost feel like a call backto their 1998 debut, Music Has the Rightto Children. But now, given the context ofimplied demise, these tracks seem to carrya lot more weight than those on Children.Tomorrow’s Harvest is, by far, the darkestBoC album to date, but it is also the mostambitious and cohesive. —Kevin ComardaCLASSHOLEDEMOS(SELF-RELEASE)Another New Orleans “super group”with an excellent line-up: Matt Muscle(ex-Mangina, Tirefire) on vocals, PaulWebb (multi-talented instrumentalist) ondrums, Gary Mader (Hawgjaw, EHG,Headwoundz, etc.) on guitar and GrantTom (Mountain of Wizard, ex-haarp, etc.)on bass (the first band I’ve seen him playbass for). I was lucky enough to get anunmastered CDr last year of these elevensongs, but this is now a proper democassette release with fancy artwork (handscuffed giving the middle finger to society)and lyrics (yes!). Similar to Matt’s previousprojects, it’s fast, loud, snotty and verypissed off: “my life’s a total wreck, fuckeveryone I meet, I can’t stand anythingI see” (from “Frustrated”) or “trappedin a world of shit, wander directionless,I see you’re dense, ain’t got no sense”(from “Corrupted”). This is the type ofhardcore New Orleans has been waitingfor! I suggest you bottle up all youraggression and take it out on everyonenext time they play Siberia or Saturn Bar.This is music for the hateful. ––Carl ElversDIRTY BOURBON RIVER SHOWVOLUME FOUR(INDEPENDENT)The talented musicians that make up theDirty Bourbon River Show occasionally24

make a bit too much of their affinity forthe circus, be it in their takes on JuliusFucik’s “Entry of the Gladiators,” or theirnods to three-ring theatricality via vocalistCharles Skinner’s operatic baritone insongs such as “Mama I’ve Been AbductedBy Creatures Of An Unholy Sound.”They are far better when they lean backon their “19th century barrelhouse saloonby way of Otis Day and the Knights inAnimal House” strengths as an ensemble,which are far more in evidence onVolume Four. Once they settle down andconcentrate on the music, the fun trulybegins. Noah Adams’ multi-instrumentalarrangements and the saxophone workof Matt Thomas successfully overcomeeven the most inane of lyrics in “JewishGirls Who Went To Art School KnowAll The Angles” (and, speaking as oneof those girls, I say the groove the musicthrows down is far better than the lewddeclaration of the lyrics) and hits in all itsfury and humor upon the Gogol Bordelloesque“Stomp For Mr. Mustachio.” TheRiver Show even takes some time to slowthings down with the Skinner-croonedballad “I Need Your Love,” an exhibitionof their range that, in the wrong hands,could be mawkish and campy, but isplayed wonderfully earnestly. Despiteits flaws, Volume Four is still a funky kick.––Leigh CheckmanDUMMY DUMPSTERHALF HUMAN HALF SHRIMP(SELF-RELEASE)Another homemade package by theselocal legends, this time with multi-talentedBill Heintz on drums. Some people trytoo hard to analyze or understand thisband; all I know is everytime I see them, Ihave a huge smile on my face. This is thetype of music to listen to after a bad dayat work because it’ll make you laugh andfeel better without taking drugs. Similarto Captain Beefheart (eclectic musicalpace) and vocals similar to Dave fromPere Ubu (high pitched and screechy),with song titles like “I’d Rather Have SexWith a Mule” and “I Really Don’t LikeThat Motherfucker,” you can’t take thesesongs too seriously (but don’t write themoff as a joke band––they are serious aboutentertaining you). Mike Schadwell startedthis band as a solo project, but sinceenlisting Isidore Grisoli (from HiGH andex-member to many great N.O. bandsover the years) on bass, I feel they’ve reallytaken off. Six songs in six minutes, thispasses you by if you’re not paying closeattention. I’m not sure where you canget this from––I got my copy when theyplayed at Dragon’s Den recently. Highlyrecommended! ––Carl ElversFUJI-POPREALIST(SELF-RELEASE)Realist, New Orleans-based duo Fuji-Pop’sfirst album, is a step in the right direction.Overall, the record is a halfway successfulattempt at dark emo-pop that could beplayed at venues like Sibera. Broodingvocals intertwine with staccato guitarnotes and quirky synths to create a sulkypop album that writhes with agitation andregret. On the album’s most solid track,“A World Before,” the vocals and loopinginstrumentation strike a balance andcreate a resentful mood. Like most debutalbums, Realist is unrestrained. Just whenAlexander and Uribe hit a clean stretch,they layer too many elements and overuseloops. Instead of creating a climax, thisheavy-handedness creates chaos (listen to“Clouds,” which has a good intro but thendevolves into noise at minute 1:00). Theexaggerated loops spring to mind a quotefrom Keith Richards’ memoir Life, wherethe guitarist describes the Stones’ reactionto working with pre-recorded loops:“Ronnie Wood... moaned, ‘All that’s left isthe ghost of Charlie’s left foot.’” Lyrically,Fuji-Pop prefers broad strokes to specifics,which comes across as too vague for thelistener to emotionally connect with.For their next album, which is alreadyunderway, I’m looking forward to a morebare-bones approach that surprises thelistener. ––Kate RussellPUMPKINDENNIS EP(SELF-RELEASE)Pumpkin keeps it simple, stupid. While alot of guitar bands around town seem tobe trying to deconstruct everything thatmakes rock music good and sexy, thesefour songs (released posthumously) bangstraight ahead with abandon, in exquisite4/4 fury. The vocals are buried underreverb, delay and the non-stop drone ofguitars, synths and a fuck-ton of drums,so you won’t exactly be able to sing along,but who cares? It’s all being “said” in thismad sprint to nowhere and with titles like“Voidman” it’s probably about space orpizza or video games; in fact, “Dennis”is like one huge sugar-fueled adolescentall-nighter. Their presser says the bandhas “quietly dissolved” but there’s nothingquiet about this release. What’s up fellas?You gonna play live again or what? —DanFoxSIGUR RÓSKVEIKUR(XL)With the exit of multi-instrumentalist andlongtime collaborator Kjartan Sveinsson,the remaining members of Sigur Róshad an opportunity to make a bold moveand create a new identity for this nowtrio. Kveikur is a challenge accepted andbested. Without sacrificing any of theemotion or beauty that built this band,their seventh studio album is trading a bitof subtlety for a lot of dirty and wastes notime hammering out an aggressive soundthat may require a little less patience thanprevious works. “Brennenstein” starts thealbum with a bang and is a far cry fromanything we’ve ever heard from theseIcelandic shoegazers, including Valtari,released just one year ago. I’ve been aloyal fan for a long time and I have toadmit, this is a side I’ve been waiting tohear from these guys. Even when trackslike “Ísjaki” end up sounding more like aJónsi solo project than a Sigur Rós album,as a whole, Kveikur is where that blurry linedisappears. The drums are bigger and thebass is now deeper and dirtier than ever.And just when you think they can’t go anybigger, the title track blows the top off ofthis monster creation. Consider yourselfproperly warned! —Kevin ComardaSTAR AND DAGGERTOMORROWLAND BLUES(CAULDRON 333)Don’t let this album’s artwork fool you:while it might suggest Star and Daggerare some kind of uber-stylish jazz trio(or on the back, stoned board gameenthusiasts), in fact they are serious axewieldingrockers, as if Alice in Chainsactually had some Alices in it (and theexplosion of opener “In My Blood”reminds me of the impact “Them Bones”had on Dirt). The rhythm section, held25

down ably by drummer Dustin Crops andbassist Sean Yseult, chugs along nice anddeep but it’s Von Hesseling’s guitar tonesthat really shine through the rust on thisalbum. Vocalist Dava She Wolf croonsand swoons at full volume; and the trackthat sticks to my guts more than any otheris “Selling My Things,” a slow, sludgydirge about a garage sale gone straight tohell, where the seller’s meager belongingsaren’t the only things strung out foreveryone to see. The refrain “Do youfeel good?” doesn’t feel good at all andit’s hard to imagine this person’s going tomake it past go. A quirky album for sure,but definitely worth rolling the dice on.—Dan Foxto see where his true passion lies. Becauseit certainly isn’t easily discernible betweenthe covers of this autobiography. ––LeighCheckmanCURTIS HARRINGTONNICE GUYS DON’T WORK INHOLLYWOOD: THE ADVENTURESOF AN AESTHETE IN THE MOVIEBUSINESS(DRAG CITY)Curtis Harrington’s autobiography isa strange example of the Hollywoodinsider genre: a tale of a gentlemanlysort weathering the slings and arrowsof a directing career. Known mostly forcult horror classics such as Night Tide,Games and What’s The Matter With Helen?,Harrington also rode the slippery slopefrom the creation of feature films tothe direction of episodes of television’sDynasty, The Colbys and Charlie’s Angelsand back. By all rights, he should haveloads of stories to tell––but at nearly 200pages, Nice Guys Don’t Work In Hollywoodis a fairly restrained tale. There areanecdotes about various stars Harringtonworked with throughout his career––ayoung Dennis Hopper, Debbie Reynolds,Shelley Winters, Kate Jackson––and otherwell-known names from the arts such asKenneth Anger and Peggy Guggenheim,but Harrington speaks of them only fromdirect experience with their behavior andas an admirer of what they do. Countlessstings from ham-handed producers, filmand television higher-ups, and failuresto effectively promote Harrington’s filmsmust have hurt at the time they happened,but he glosses over them with the help ofhindsight in Nice Guys. The overall feelof this work of Harrington’s does makereaders want to check out his films, if only26TYSON CORNELL & MARCWEINGARTEN, ED.YES IS THE ANSWER (ANDOTHER PROG ROCK TALES)(RARE BIRD BOOKS)The business of it had grown much largerthanks to the artists of the ‘60s. Its artisticpotential had been pioneered by TheBeatles and The Beach Boys––amongmany others. So it seemed like a logicalprogression in the late ‘60s and early‘70s for rock to become... well, progressive.More keyboards, songs that broke thethree-minute barrier (and expanded toLP-length in some cases), instrumentalsthat incorporated classical and jazz,threatening to cancel out the rock thatwas ostensibly a part of its existence inthe first place––all were hallmarks ofprog, and I haven’t even mentioned thelive shows. Much reviled and relegatedto the category of “too big to succeed,”Yes Is The Answer acknowledges that trickylegacy and finds much within it that canbe taken seriously. Though there aresome essays that lean towards straightupcriticism (Jim DeRogatis on earlyGenesis) and artist appreciation (LarryKarazewski on Todd Rundgren), the restare, in many cases, personal examinationsof the effect of prog rock on the authors’lives. Whether or not you’re partial toYes, Emerson, Lake & Palmer, Rush, PinkFloyd’s The Wall, or many other progexemplars, there’ll be something for youin here. Owning up to one’s own affinityfor any prog rock after reading Yes Is TheAnswer (mine being Floyd’s Meddle) is up toyou. ––Leigh CheckmanDREW MEEZDRESSED, NO PICKLES(SELF-RELEASE)Those of you familiar with local funktronica favorites Gravity A will without a doubtalso be acquainted with EJ Andrew Meehan, or as he is known by his friends and closeconstituents: Drew Meez. After solidifying his place in Gravity A in 2007, Meehanhas continued to expand his musical palette with the GA offshoot PYMP, the Big EasyBounce Band and most recently with his first solo effort, Dressed, No Pickles, a tonguein-cheeknod to the jazz standard Straight, No Chaser by Thelonious Monk. Combiningelements of funk, hip-hop, drum&bass, electro and just about any other genre you canthink of, Dressed, No Pickles has a little something for everyone.Meez got his start playing music with his brother right around third grade and sincethen has expanded his range of instruments from piano and keyboards to guitar,drums and melodica. The motivation to do the solo project was simple for Meez: “Ireally wanted to get my name out there a bit more and open myself up to a variety ofstyles. Gravity A is very focused on soloing and I wanted to have something a bit morecohesive with less open space.” Meez also states that one of the biggest differences isthe fact that he alone composed the music, while GA is a group effort. He cites MarcoBenevento, Roni Size, Joe Ashlar and Cash Money Records as major influences, andthere are hints of all on the album.The title track begins as a laid-back groove with smooth piano lines à la MassiveAttack, before shifting into a double-time saxophone run similar to the sounds of late‘90s drum&bass. “Ultimately, I wanted to keep things simple,” he states. “Most of therecord is 4/4 and focuses on a party vibe. Even with the ups and downs of the tracklist,I essentially tried to make an album that provides a coherent story for the listener, evenif they interpret things differently.” Meehan shows maturity and depth on “A Tear ForStone” of which he said, “I did five takes on that tune before I was happy with the endresult.” Each track does a superb job of layering each element and instrument so thatit lends itself to another. This theme shines on “Cause Celebre,” a housey throwbackanthem with a 303 bassline and smooth guitar riffs reminiscent of late ‘90s house andtechno.Featuring the likes of Mike Dillon, M@ Peoples, Fou and Bru Bruiser from Gravity A,Chris Royal and a host of others, Dressed, No Pickles is a roller coaster ride of musicalbliss that will get any party started off on the right foot. The one thing that shinesthrough most about this album is the sound of New Orleans. From the classically “yeahbrah” intro to the “Outro: Greatest Song Ever Created,” Meez captures the vibe ofNew Orleans on so many levels. The album is available at all good local record stores aswell as drewmeez.bandcamp.com. When asked for shoutouts, Mr. Meez simply replied,“Plucka-plucka eyelash. Make-a-make-a wish. Teeth under my pillow. In the morningI’ll be rich.” —Graham Greenleaf

y Dirk Fontenot“For your own sake, son,I hope you ain’t the lawIt’s a long way outta this holleryou just might get lost…”—“Easy People”Gary Stewart (1971)taste and jumping in the pool this earlymight freak you out too much to progressany further. But know this: there is noone else that has put on that kind ofperformance in a country studio beforeor since. Sure, Hank bared his soul withsometimes disastrously painful results, butit was never, ever this alarming, ghoulish ordownright hideous.Not that Gary couldn’t swing thependulum the other way. There areseveral tracks in his catalog—“Quits,”“Shady Streets,” “Let’s Forget ThatWe’re Married,” and the crown jewel “AnEmpty Glass”—that demonstrate a deep,unflinching sadness impossible to ignore.Unbelievably, in these moments, Garymanages to keep it together long enoughto deliver a vocal that smacks of the highheavens: crystalline, precise, weightywith emotion but airy in maneuverabilityand tone, not unlike a higher-registeredmodification on Keith Whitley butdrenched in all the pain of Hank Sr. orTownes Van Zandt.It all ended on December 16, 2003, witha shotgun blow to the neck. Fitting thatGary Stewart would take out his throatfirst: it was that mad, scrambled howl thatso defined his trajectory in life, a hollerthat brought him fame—however briefand unwanted—and a certain level ofnotoriety that other throats couldn’t touch.Ladies and gentleman, as writer JimmyMcDonough once coined him: the “CountYorga” of Honky-Tonk.If you’ve never heard any Gary Stewart,known to his adoring and slightly rabid fanbase as “King of the Honky-Tonks,” youmight want to start off small, maybe a sipof his bigger mainstream hits: “She’s Actin’Single (I’m Drinkin’ Doubles),” “Out ofHand” or “An Empty Glass.” You’ll stillnotice that the voice is barely keeping ittogether, completely singular and utterlyshocking in its range and tone. When Ifirst heard “She’s Actin’ Single,” I wasdriving through northeast Texas with mygirl, on our way to a wedding and bumpingclassic country stations (Texas absolutelydemolishes us in the sheer number ofclassic country stations available). It cameon and I remember being floored: whatwas this voice? Who possesses somethinglike that in country? Shiny steel guitar andSpector-like wall of background vocals?Yes, that had been done here and there,but the lyric struck me first. “My heart isbreaking / like the tiny bubbles” *scratcheshead* Is he being serious? Is this a comedy?Uh, yes please! More!And there was more, because... that voice,singing with a nutso quiver—the epitomeof bloodcurdling anxiety—and layingit down with reckless abandon, but withstunning clarity and a tone of high-honey.A desperate man, lost in shellshock,the “King of the Honky-Tonks” never got his due.And not just in the cluelessantiquity machines thatrun Nashville, but evenamongst his own brethrenin “outlaw country”offering the fragments of his cracked, pettysoul up to that great altar of country andwestern. A heartbroken drunk of a honkytonkwizard casting his notes to the wind,because the sense of identity—the depthof passion—is what mattered, not theplacement or key or polish.I discovered in the months after hearing“She’s Actin’ Single” that this was his“pop” hit. The revelations soon after,the recognition of this lone wolf ’s careerand work, I could not prepare myself for.Stewart was a beacon in country music (ormaybe more appropriately, a fiery blacklight in the devil’s honky-tonk) that leftroom for no one else, a flaming, solitarystar nearly incomparable to anyone else inthe genre. The only two other names thatpop up, Jerry Reed and Rodney Crowell,are good reference points, but Gary is trulya genre unto himself (Jerry’s got some ofthe amphetamine drive laced in his work,but his singing is fairly straightforward incomparison; Rodney is even tamer, butthe invitation to comparison with Garylies in the inventive, breath-of-fresh-airsongwriting).Gary was an absolute demon in andout of the studio, with a refusal tocompromise that eventually ruined hiscareer. Throughout the 1970s, he wassigned to RCA and early on garneredthem a strong, straight country classic withthe album Out of Hand. Things spiraleddownhill after that, though, amidst talesof dumpster-diving for cocaine and othersordid happenings. And that was just thehearsay. The tangible evidence, and alsothe biggest testament to Gary’s unnervinginability to compromise his vocal andmusical style, was in his ever-progressingvocal oddities. The man sang with somuch deranged gusto, bizarro vibrato anddramatic enunciation that his record labelRCA dropped him in 1983. There areseveral examples laced throughout Gary’s‘70s catalog that demonstrate the weirdnessthat defined his legacy, with arguably thebest example being “Honky Tonk Man.” Ifyou want to cut straight to the thick, juicyslab of gut-wrenching agony, then shootyourself to this one, but I don’t recommendit. You, like Roy Dea (producer on thisrecord), would be left with more questionsthan answers. Gary is a bitter, acquiredAnd while some might argue thatidiosyncrasy, knockout lyrics and a gaudy,yet gorgeous vocal does not make aNashville Hall-of-Famer, Gary was alsofond of riding the beat. I’m talking DonnaSummer-on-Giorgio beat-riding. In fact,disco—minus the harsh demonizationof yesteryear—is a fitting comparison. Inthe best of Gary’s work regarding this, asin a track like “Ten Years of This” (BobDylan’s favorite), the beats are propulsive4/4s, the guitar lines polished and sexy,the melodic riffs gooey and unforgettable.And what Gary does with this vocally issomething to behold. He weaves in and outof the rhythm, using his vocal as its ownpercussion, punctuating here and there toreplicate a tom or hi-hat, mastering therhythm like a bull rider, with all the tearstained,tragicomic subtexts of a rodeoclown.There is no particular reason to becelebrating him now. No boxed sets onthe horizon, no reissues. But there shouldbe. Outside of his cult-like fan base, the“King of the Honky-Tonks” never got hisdue. And not just in the clueless antiquitymachines that run Nashville, but evenamongst his own brethren in “outlawcountry” (a genre that Gary lived harderthan most of his compatriots). There arethose out there clued into the oddballsingers and wild geniuses that have alwayszeroed in on him and other artists of hisilk: Bobby Bare, Moe Bandy, Townes. ButGary was different from even these guys,a loose and losing hellion that didn’t fit inanywhere, stuck in a nameless purgatorybetween country and rock way before itwas accepted and standardized. If you lookfor articles, bios and whatnot, outside ofwriter Jimmy McDonough’s epic feature“Little Junior, King of the Honky-Tonks:the Life and Death of Gary Stewart” (amust-read if you’re going down the Pathof Gary, available at furious.com/perfect/garystewart.html), you will find next tonothing in terms of insight and impact.And for someone who’s warped the genreuntil it became taffy in his throat, hedeserves so much more. God Bless you,Little Junior. I hope you and Mary Louare rollin’ bones and hollerin’ out jukeboxmonsters somewhere out there.27

FRIDAY: 6/28Banks Street Bar: Bujiee & TheHighrise, MC Duck, 3 Cents Short,FlyingRaccoons, 9:30pmCheckpoint Charlie: Nervous Duane,4pm; NOLA Treblemakers, 7pm;Woodenhead, 10pmCircle Bar: MySpiltMilk.com presentsSuperhumanoids, 10pmd.b.a.: Linnzi Zaorski, 6pm; Colin Lakewith Mississippi Rail Company, 10pm $10Hi Ho: The Quickening, 9pmHouse of Blues: Ron Williams Band,5pm (Voodoo Garden); Sarah Mac Band,8:30pm (Big Mama’s Lounge); BustoutBurlesque 8pm & 10:30pm;:30pm (The Parish); 4-Playon Friday, 11pm (The Parish)Howlin Wolf: Mac Miller - The S.D.S.Tour with Chance The Rapper, VinceStaples, and The Internet 9pm; TonyHoliday Trio + Gravy, 10pm (in the Den)The Maison: Messy Cookers Jazz Band,4pm; Chance Bushman & The FauxBarrio Billionaires, 7pm; Soul Project +The 4th Ward Afro Klezmer Orchestra,10pmMaple Leaf: New Orleans SuspectsOne Eyed Jacks: Dave Attell, 9pm &11:30pmSiberia: Holy Grail, Anti-Mortem,Venomous Maximus, The Devil’s Rain,10pmTipitina’s: Foundation Free FridaysConcert Series: Shamarr Allen & theUnderdawgs + Corey Henry & the TremeFunktet, 10pmSATURDAY: 6/29Banks Street Bar: The Relics, 8pm;Refried Confuzion, 10pmCheckpoint Charlie: Green Sunshinewith Mob Towne Revival, 10pmCircle Bar: Killeen Foundry with TheGeraniums, 10pmd.b.a.: Joe Krown Trio feat. WalterWolfman Washington & Russell Batiste Jr.,11pm $10Hi Ho: DJ Soul Sister presentsHUSTLE, 11pmHouse of Blues: Ken Swarz & ThePalace of Sin, 1pm (Voodoo Garden); TheBath Salts, 10pm (Big Mama’s Lounge);Super Water Sympathy plus Sports &Leisure plus Evangelistas, 10pm (TheParish); La Rumba Latin Night, 11pmHowlin Wolf: Derrick Freeman’sSmokers World, 10pm (in the Den)The Maison: The Ramblin’ Letters,4pm; Smoking Time Jazz Club, 7pm;BRASS-A-HOLICS + The StreetLegends Brass Band, 10pmMaple Leaf: Ori Naftaly BandOne Eyed Jacks: Dave Attell, 9pm &11:30pmSiberia: St. Claude Bike Night feat.Golden Pelicans, Gino and the Goons,Buck Biloxi and the Fucks, TrampolineTeam, DJ Quintron (9pm) + AlexMcMurray (6pm-8pm)Tipitina’s: Papa Grows Funk: 13 yearsof a funking good time...THE LASTJAM!, 10pmSUNDAY: 6/30Banks Street Bar: Dueling Fiddles,4pm; Spaghetti Western Night, 7pmCheckpoint Charlie: Acoustic OpenMic with Jim Smith, 8pmd.b.a.: The Palmetto Bug Stompers,6pm; Marc Stone & Friends, 10pm $10Hi Ho: NOLA Comedy Hour OpenMic, 8pmHouse of Blues: Carlo Ditta & SmokyGreenwell, 6pm (Big Mama’s Lounge);Magic 101.9 presents Cyndi Lauper: She’sSo Unusual tour plus Hunter Valentine,8pm; The GrandMothers of Invention,8pm (The Parish)The Maison: Dave Easley, 5pm; BradWalker, 7pmOne Eyed Jacks: Brooklyn Vegan andInvisible Oranges present Weedeater withASG plus Fat Stupid Ugly People, 10pmSiberia: Valient Thorr, Gypsyhawk,Ramming Speed, Mountain of Wizard,10pmTipitina’s: Sunday Youth MusicWorkshop feat. Johnny V. Trio, 1pmMONDAY: 7/1Checkpoint Charlie: Casey Saba, 7pmThe Maison: Sunflower City, 7pmMaple Leaf: The QuickeningOne Eyed Jacks: Blondie: The BirthdayParty (DJs Bunny & Matty), 10pmSiberia: Bits & Jiggles, 9pmTipitina’s: Josh Ritter & The Royal CityBand plus Milk Carton Kids, 9pmTUESDAY: 7/2Checkpoint Charlie: Domenic, 7pmThe Maison: Greg Agid Quartet, 6pm;Magnitude, 9pmSiberia: Set and Setting Sumerian+TBA, 10pmWEDNESDAY: 7/3Circle Bar: The New Movement Stand-Up Open Mic, 7pm; Weeknight, 10pmd.b.a.: The Mirlitones, 7pmHouse of Blues: Jet Lounge, 11pm(The Parish)Howlin Wolf: Paul Mooney plus NatureBoy, 9pm & 11pmThe Maison: New Orleans SwampDonkeys, 6pm; Ashton Hines & The BigEasy Brawlers, 9pmMaple Leaf: “Infinite Modesty”featuring Kristopher Batiste, SeizoShibayama, Keiko Komaki, Vegas ColaOne Eyed Jacks: HOTBOX: BodyRock Party, 10pmSiberia: 3rd of July Bounce!, 10pmTHURSDAY: 7/4Checkpoint Charlie: The Unnaturalswith Dead Cat Lounge, 10pmCircle Bar: DJ Nite Sweats, 10pmd.b.a.: Boucoup Groove, 10pm $5House of Blues: WYLD & WQUEpresent The Walmart Welcome AffairFeat. Fantasia with special guests Avantand Raheem DeVaughn, 7pmHowlin Wolf: Paul Mooney and RedBean, 9pm & 11pmThe Maison: Erin Demastes,5pm; Some Like it Hot, 7pm; BarryStephenson’s Pocket, 10pm28

FRIDAY: 7/5Circle Bar: Debauche, 10pmd.b.a.: Hot Club of New Orleans, 6pm;R. Scully & the Rough 7 with NorcoLapalco, 10pm, $10Howlin Wolf: Silent Disco, 10pm (in theDen)The Maison: Leah Rucker, 4pm; FauxBarrio Billionaires, 7pm; The Jesse SmithProject, 10pmMaple Leaf: Cha WaShadowbox Theatre: Clybourne Park,8pmSiberia: Candy Shack Happy Hour withDJ’s Lingerie and Suzy Q, 6pm; GuitarSlim Jr, Guitar Lightnin’ Lee and theThunder Band, 9pmTipitina’s: Foundation Free FridaysConcert Series: Gravity A + Khris Royaland Dark Matter, 10pmSATURDAY: 7/6Checkpoint Charlie: Sweet Jones, 7pmCircle Bar: Littler Richard Bates,6:30pm; Lovey Dovies with The BlackbeltBand plus New Lows, 10pmd.b.a.: John Boutte, 8pm $10; ShamarrAllen & The Underdawgs, 11pm $10Hi Ho: DJ Soul Sister presentsHUSTLE, 11pmHowlin Wolf: The Essence of Hip Hop,10pm (in the Den)The Maison: Messy Cookers Jazz Band,4pm; Smoking Time Jazz Club, 7pm; TheEssentials + Street Legends Brass Band,10pmShadowbox Theatre: Clybourne Park,8pmSiberia: Alex McMurray, 6pm; TuffLuvs, Die Rotzz, Texas Funeral, DJ HankHill, 10pmTipitina’s: Joe Krown Trio plus WalterWolfman Washington & Russell Batisteplus Kipori Woods, 10pmSUNDAY: 7/7Checkpoint Charlie: Acoustic OpenMic w/ Jim Smith, 8pmd.b.a.: The Palmetto Bug Stompers,6pm; Meschiya Lake & The Little BigHorns, 10pm $5Hi Ho: NOLA Comedy Hour OpenMic, 8pmThe Maison: Dave Easley, 5pm; LinzziZaorski 7pm; Soul Project, 10pmShadowbox Theatre: Clybourne Park,8pmSiberia: Gal Holiday and the HonkyTonk Revue, 7pm; Attrition: Goth/IndDance Party Four Year Anniversary, 10pmMONDAY: 7/8Checkpoint Charlie: Casey Saba, 7pmCircle Bar: Direct Attack with BestialMouths with Pretty Bleak, 10pmSiberia: DJ Pasta’s Hangover HappyHour, 6pmThe Maison: Sunflower City, 7pmMaple Leaf: Jon Cleary & the AbsoluteMonster GentlemenTUESDAY: 7/9Checkpoint Charlie: Domenic, 7pmCircle Bar: The New Movement Stand-Up Open Mic, 7pm; Burnt Ones withBabes plus Bottomfeeders, 10pmHouse of Blues: We The Kings plusBreathe Carolina plus T. Mills plus TheReady Set plus Keep It Cute, 5:30pmThe Maison: Greg Agid Quartet, 6pm;Magnitude, 9pmSiberia: Cannabis Corpse, Barghest,Oroku Saki and the Foot, 9pmWEDNESDAY: 7/10d.b.a.: The Mirlitones, 7pmHouse of Blues: Jet Lounge, 11pmThe Maison: Erin Demastes, 6pm; TheMultiphonics, 9pm;Maple Leaf: “Infinite Modesty”featuring Kristopher Batiste, SeizoShibayama, Keiko Komaki, Vegas ColaSiberia: Ratty Scurvics Trio, SarahMcCoy and the Oopsie Daisies, BlindTexas Marlin, 9pmTHURSDAY: 7/11Circle Bar: Cayucus with Brazos plusCardinal Sons plus Eugene, 10pmd.b.a.: Jon Cleary, 7pm; Ernie Vincent &The Topnotes,10pm $5Howlin Wolf: Southern Gothic FestivalKickoff Party, 11pm (in the Den)The Maison: Erin Demastes, 5pm;Shotgun Jazz Band, 7pm; BarryStephenson’s Pocket 10pmSiberia: The Local Skank, Daria and theHip Drops, The Night Janitor, 9pmTipitina’s: Tipitina’s & The NewMovement present Pete Holmes + TBA,9pmFRIDAY: 7/12Checkpoint Charlie: Creepy Fest 2013featuring The Pallbearers + Gasmiasma +more, 8pmCircle Bar: The Cutler Band DoesBowie, 7:30pmd.b.a.: Linnzi Zaorski, 6pm; Debauche,10pm, $10House of Blues: Emblem3 plusMKTO, 6pmHowlin’ Wolf: Southern Gothic Festivalfeat. The Endless, Kali Ra, D:kunstruct,Cyberia Organica, 9pm (in the Den)The Maison: Leah Rucker, 4pm;Messy Cookers Jazz Band, 7pm; TheFaux Barrio Billionaires, 7pm; NaughtyProfessor + Machete, 10pmMaple Leaf: Hot Funk in theSummertime feat Andrew Block, JohnGros, Raymond Weber, Eric Vogel &Special GuestsOne Eyed Jacks: Cons and Prose withSunset Sunrise plus Davey Crockett &The Wild Frontier, 10pmShadowbox Theatre: Clybourne Park,8pmSiberia: Pretty Cats DJ’s Happy Hourwith St. Sarah and Angelwitch, 6pm;Volahn, Arizmenda, Bilirubin, BlueHummingbird on the Left, Abysmal Lord,9pmTipitina’s: Foundation Free FridaysConcert Series: James Andrews & TheCrescent City All-Stars plus BRASS-A-HOLICS, 10pmSATURDAY: 7/13Circle Bar: Littler Richard Bates,6:30pm; Left of the Dial, 10pmd.b.a.: John Boutte, 8pm, $10; LittleFreddie King, 11pm $10Hi Ho: DJ Soul Sister PresentsHUSTLE, 11pmHouse of Blues: The 2013 NewOrleans Beatles Festival - 11thAnniversary Concert, 9pmHowlin’ Wolf: Gypsy Camp Tour: Thephoto: Kevin Barrios29

Gills + Blackfoot Gypsies + The Jag,10pm (in the Den); Rock the Mic Concertfeat. Freeway plus Young Gabe and more,Hosted by Q93’s Slab 1, 10pmThe Maison: Cajun Zydeco Fais DoDo, 4pm; Smoking Time Jazz Club, 7pm;La Fiesta de Pantalones with Los PoboyCitos, 10pmMaple Leaf: Uptown Summer Jamfeaturing Terence Higgins & FriendsOne Eyed Jacks: Jesse Tripp and theNightbreed plus Dinola, 10pmShadowbox Theatre: Clybourne Park,8pmSiberia: Creepy Fest: Evil Army, MaggotSandwich, The Sluts, Swingin’ Dicks, Ese,Mugen Hose, The Bills, 7pmTipitina’s: Robert Fortune Band, 10pmSUNDAY: 7/14Checkpoint Charlie: Acoustic OpenMic w/ Jim Smith, 10pmCircle Bar: Creepy Fest featuring BuckBiloxi and The Fucks, The Unnaturals,Dummy Dumpster and The Bastard Sonsof Marvin, 10pmd.b.a.: The Palmetto Bug Stompers,6pm; Meschiya Lake & The Little BigHorns, 10pm $5Hi Ho: NOLA Comedy Hour OpenMic, 8pmThe Maison: El Pobre de Mi: OfficialRunning of the Bulls After Party, 12pm;Dave Easley, 5pm; Kristina Morales &The Bayou Shufflers, 7pmShadowbox Theatre: Clybourne Park,8pmSiberia: An Evening with Your CousinDimitri, 10pmTipitina’s: Sunday Youth MusicWorkshop feat. Billy Iuso and RestlessNatives, 1pmMONDAY: 7/15Checkpoint Charlie: Casey Saba, 7pmThe Maison: Sunflower City, 70pmMaple Leaf: Jon Cleary & the AbsoluteMonster GentlemenSiberia: DJ Pasta’s Hangover HappyHour, 6pm; Bits & Jiggles, 9pmTUESDAY: 7/16Circle Bar: The Jeff Albert Quartet,10pmThe Maison: Greg Agid Quartet, 6pm;Magnitude, 9pmSiberia: Songwriter Showdown: CodyBlaine Booth, Ruby Ross, Jayke Webb,Daniel Amedee, 9pmWEDNESDAY: 7/17Circle Bar: The New Movement Stand-Up Open Mic Night, 7pmd.b.a: Washboard Chaz Blues Trio, 7pmHouse of Blues: Pentatonix, 7pm; JetLounge, 11pm (The Parish)The Maison: New Orleans Jazz Vipers,7pm; Jesse Smith Project, 9pmMaple Leaf: “Infinite Modesty”featuring Kristopher Batiste, SeizoShibayama, Keiko Komaki, Vegas ColaSiberia: TylerCon Infinity: Sci Fi andFantasy Nerdlesque, Comedy, and Rockwith Rev. Spooky Lestrange and HerBillion Dollar Babydolls, Dr. Milo T.Pinkerton of C.O.G. and Dr. Elvis DeLarge of Clockwork ElvisTHURSDAY: 7/18Checkpoint Charlie: The IdlewildString Confederation, 8pmCircle Bar: Tom Leggett, 10pmd.b.a.: Jon Cleary, 7pm; Big Sam’sFunky Nation, 10pm $10House of Blues: The Maine plus ARocket to The Moon plus This Centuryplus Brighten, 6pmHowlin Wolf: Kevin Gates, 9:30pm;Wild Child + Whiskey Shivers, 10pm (inthe Den)The Maison: Erin Demastes, 5pm;Messy Cookers Jazz Band, 7pm; BarryStephenson’s Pocket, 10pmSiberia: Primitive Man, Reproacher,Red Shield, 9pmFRIDAY: 7/19d.b.a.: Hot Club of New Orleans, 6pm;Alvin Youngblood Hart & Muscle Theory,10pm, $10House of Blues: Alternative Friday,11pm (The Parish)The Maison: The Ramblin’ Letters,4pm; The Faux Barrio Billionaires, 7pm;Stiff Necked Fools, 10pmMaple Leaf: Corey Henry’s TremeFunktetOne Eyed Jacks: Morning 40Federation, 10pmShadowbox Theatre: Clybourne Park,8pmSiberia: Candy Shack Happy Hour withDJ’s Lingerie and Suzy Q, 6pm; M.O.D.,The Pallbearers, Carry The Storm, AHanging, 9pmTipitina’s: Foundation Free FridaysConcert Series: Good Enough forGood Times + Chris Mule’ and ThePerpetrators, 10pmSATURDAY: 7/20Checkpoint Charlie: Jamie LynnVessels, 4pm; Kenny Triche Band, 7pmCircle Bar: Littler Richard Bates,6:30pm; Caleb Caudle with Killer Whale,10pmd.b.a.: John Boutte, 8pm $10; GeorgePorter Jr. & His Runnin Pardners, 11pm$10Hi Ho: DJ Soul Sister presentsHUSTLE, 11pmHouse of Blues: N.O. Capo SummerBash ft. F1, Lucci Lou, Flawless, &friends, 10pm (The Parish)Howlin Wolf: Fangtasia III feat.Christian Death, DJ Jyrki 69 and specialguests, 9pmThe Maison: New Orleans SwampDonkeys, 4pm; Smoking Time JazzClub, 7pm; Debauche + The Jesse SmithProject, 10pmMaple Leaf: Boukou GrooveOne Eyed Jacks: Magic Mike EuropeanChippendales Sensation, 9pmShadowbox Theatre: Clybourne Park,8pmSiberia: Whom Do You Work For?,Poppy Red, Classy Nude, 7pm; Poof!The Pop Show Presents: Palmbomen,Wesley Stokes, Carmine P. Filthy,aboynamedruth, 10pmTipitina’s: Winter Circle ProductionsPresents BASSIK: Uptown feat.PANTyRAID + DJ Quickie Mart, 10pmSUNDAY: 7/21Checkpoint Charlie: Acoustic OpenMic Night w/ Jim Smith, 8pmd.b.a.: The Palmetto Bug Stompers,6pm; Chris Mule & The Perpetrators,10pm $5Hi Ho: NOLA Comedy Hour OpenMic, 8pmThe Maison: Dave Easley, 5pm; LinzziZaorsky, 7pm; Ashton Hines and the BigEasy Brawlers, 10pmShadowbox Theatre: Clybourne Park,8pmSiberia: Natural Child, TrampolineTeam, King Louie’s One Man Band,7pm; Attrition: Goth/Ind Dance BlackoutParty, 10pmMONDAY: 7/22Checkpoint Charlie: Casey Saba, 7pmHouse of Blues: HOB 20th Anniv.Presents Hollywood Undead with EscapeThe Fate, 5:15pmThe Maison: Sunflower City, 7pmMaple Leaf: Jon Cleary & the AbsoluteMonster GentlemenSiberia: DJ Pasta Country Happy Hour,6pm; Ice Cold Comedy Night: Bits andJiggles, 9pmTUESDAY: 7/23Circle Bar: Tarik Hassan Band, 10pmThe Maison: Greg Agid Quartet, 6pm;Magnitude, 9pmSiberia: Sonny Vincent (of TheTestors!), Die Rotzz, Texas Funeral, 9pmWEDNESDAY: 7/24Circle Bar: The New Movement Stand-Up Open Mic, 7pm; Chris Johnson,10pmd.b.a.: Washboard Chaz Blues Trio, 7pmHi Ho: Pacific Dub with more TBA, 9pmHouse of Blues: Jet Lounge, 11pm(The Parish)The Maison: Chris Alford, 6pm; Smoke’n Bones, 9pmMaple Leaf: “Infinite Modesty”30

featuring Kristopher Batiste, SeizoShibayama, Keiko Komaki, Vegas ColaSiberia: Cut Throat Freak Show + TBA,7pm; Andy D, Lil Iffy, Boyfriend, 10pmTHURSDAY: 7/25Checkpoint Charlie: Kenny Triche &Mark Lumpkin, 11pmd.b.a.: Jon Cleary, 7pmHowlin Wolf: W Kamau Bell, 9pmThe Maison: Erin Demastes,5pm; RexGregory, 7pm; Barry Stephenson’s Pocket,10pmSiberia: Big Deal Burlesque, 7pm; DiscoNouveau, 10pmFRIDAY: 7/26Checkpoint Charlie: High Octanewith Bad Grass, 8pmCircle Bar: Bobby Jealousy, 10pmd.b.a.: Linnzi Zaorski, 6pm; Soul Rebels,10pm $10House of Blues: Southern SmokeReunion IV, 9pm (The Parish); AlternativeFriday, 11pm (The Parish)Howlin Wolf: Love Gun: The KissTribute Band plus Moonhoar, 9pm;Automii, 10pm (in the Den)The Maison: The Ramblin’ Letters,4pm; The Faux Barrio Billionaires, 7pm;The New Orleans Swamp Donkeys, 7pm;BRASS-A-HOLICS, 10pmMaple Leaf: Alvin Youngblood Hart’sMuscle TheorySiberia: Pretty Cats DJ’s Happy Hourwith St. Sarah and Angelwitch, 6pm;Suplecs, Dirty Streets, Sumerian, 9pmTipitina’s: Foundation Free FridaysConcert Series: Stooges Brass Band +Ricky B, 10pmSATURDAY: 7/27Circle Bar: David Fera, 10pmd.b.a.: King James & The Special Men,11pm $5Hi Ho: DJ Soul Sister PresentsHUSTLE, 11pmHouse of Blues: Bustout Burlesque,8pm & 10:30pmHowlin Wolf: Wicked WonderlandEmpire, 9pm (in the Den)The Maison: Messy Cookers Jazz Band,4pm; Smoking Time Jazz Club, 7pm;ARCHNEMESIS + Street Legends BrassBand, 10pmMaple Leaf: Frogs Gone Fishin’One Eyed Jacks: Strange Roux withGravy Flavored Kisses plus Tyler Kinchenand the Right Pieces, 10pmSiberia: Sons of Tonatiuh, Mailbomber,Ossacrux, Fat Stupid Ugly People, 9pmTipitina’s: Uptown Saturday Night feat.Tank and the Banga’s and Zena Moses &Rue Fiya, 10pmSUNDAY: 7/28d.b.a.: Meschiya Lake & The Little BigHorns, 10pmHi Ho: NOLA Comedy Hour OpenMic, 8pmThe Maison: Dave Easley, 5pm; BradWalker, 7pm;One Eyed Jacks: KEN mode with InterArma plus Vibe Ruiner, 10pmSiberia: No Bails, Buck Biloxi andthe Fucks, Patient Zero and the AIDSMonkeys, Pretty Cats DJ’s, 9pmMONDAY 7/29:Checkpoint Charlie: Casey Saba, 7pmThe Maison: Sunflower City, 7pmMaple Leaf: Jon Cleary & the AbsoluteMonster GentlemenOne Eyed Jacks: Andrew Stockdale (ofWolfmother), 10pmSiberia: DJ Pasta’s Hangover HappyHour, 6pm; Havok, Demonic Destruction,The Devil’s Rain, 9pmTipitina’s: Sunday Youth MusicWorkshop feat. Johnny V. Trio, 1pmTUESDAY 7/30:Checkpoint Charlie: Domenic, 7pmCircle Bar: Adam Bellard and TheFFT’s, 10pmThe Maison: Gregory Agid Quartet,6pm; Magnitude, 9pmSiberia: California Wives, NativeAmerica, The Tix, 9pmWEDNESDAY 7/31:d.b.a.: Washboard Chaz Blues Trio, 7pmHi Ho: WCP Presents: Souls of Mischief,10pmHouse of Blues: Jet Lounge, 11pm(The Parish)The Maison: New Orleans Jazz Vipers,6pm; Smoke ‘n Bones, 9pmMaple Leaf: “Infinite Modesty”featuring Kristopher Batiste, SeizoShibayama, Keiko Komaki, Vegas ColaSiberia: Dark Rotations with JoeyButtons and Just Vial, 10pmTHURSDAY 8/1:Circle Bar: Twin StepsHouse of Blues: Plain White T’s plusWest Without, 8pm (The Parish)The Maison: Erin Demastes,5pm; Some Like it Hot, 7pm; BarryStephenson’s Pocket, 10pmTipitina’s: Star and Dagger + R.Scully’s Rough 7, 10pmFRIDAY 8/2:The Maison: Faux Barrio Billionaires,7pm;Maple Leaf: Bas ClasTipitina’s: Foundation Free FridaysConcert Series: EARPHUNK + TheQuickening, 10pmSATURDAY 8/3:Hi Ho: DJ Soul Sister PresentsHUSTLE, 11pmHowlin Wolf: White Linen After Partywith Rebirth Brass Band plus TylerKinchen and The Right Places, 10pmThe Maison: Smoking Time Jazz Club,7pmOne Eyed Jacks: One Eyed Jacks andSimple Play present Futurebirds withDiarrhea Planet, 10pmSUNDAY 8/4:Circle Bar: Speedy Ortiz, 10pmHi Ho: NOLA Comedy Hour OpenMic, 8pmThe Maison: Dave Easley, 5pm2012 Offbeat Magazine Engineer and Studio Of The Year award winnersComfortable creative atmosphere with a large live room and two isolation rooms32-channel console with moving fader automationMultiple analog tape machinesPro Tools 9 with 24 channels of SSL convertersDiverse collection of vintage and modern mics and outboard gearImpeccable classic keys (Mellotron, Hammond w/Leslie, Wurli 200A, Clavinet, Rhodes, Farfisa)7-foot semi-concert grand pianoNew and vintage drums, guitars, basses, and ampsFull kitchen, bathroom, and living areaSee website for extensive gear, instrument, and client lists“One of the reasons we chose to work at the Living RoomStudio was that the impressive selection of instruments.”-- Joey Burns (Calexico)“New Orleans should have more places like this. Places thatprovide the kind of atmosphere that makes you comfortable,not stressed for time while offering the kind of feedback youneed when trying to make your song sound the best it can.”-- James Hayes (Lovey Dovies)Clients Include:Hurray for the Riff RaffDark Dark DarkEyehategodVox and the HoundJohn BoutteAll PeopleThouSarah QuintanaTremeBy & By String Bandthelivingroomstudio.com 504-236-277231

WEEKLY EVENTSMONDAYSBayou Park Bar: The Hooch Riders,9pmCheckpoint Charlie’s: Karaoke, 10pmd.b.a.: Glen David Andrews, 10pm, $5Desperados: Kickball DisassociationAfter Party & Old Timey Music, 9pmDragon’s Den: Slide Guitar DomenicHi-Ho Lounge: Blue Grass Pickin’ Party,8pmThe Maison: Chicken Waffles, 5pm;Swing Dance Classes (Upstairs), 6pm;Aurora Nealand & the Royal Roses, 7pm;Super Jam with Gene’s Music Machine,10pmPreservation Hall: St. Peter StreetPlayboys featuring Maynard ChattersSiberia: Ice Cold Comedy Night, 9pmSpotted Cat: Sarah McCoy, 4pm;Dominick Grillo and the FrenchmenSt. All-Stars, 6pm; Kristina Morales &the Bayou Shufflers, 10pm [1st & 3rdMondays]/The Jazz Vipers, 10pm [2nd,4th & 5th Mondays]TUESDAYSBayou Park Bar: Walter WolfmanWashington, 9pmCarrollton Station: Acoustic OpenMic, 9pmCafé Negril: John Lisi and Delta Funk,7pmd.b.a.: Treme Brass Band, 9pm, $5Desperados: Noxious Noize Tuesdays,9pmDragon’s Den: Climate Change Hip-Hop NiteHi-Ho Lounge: Songwriter Gumbo,9pmThe Hookah: Entourage Ent. PresentsHip-Hop Night, 10pmHowlin’ Wolf: LIVE IN THE DEN:Comedy BeastIrvin Mayfield’s Jazz Playhouse:Jason Marsalis, 8pmThe Maison: Gregory Agid, 6pm;Magnitude, 9pmMaple Leaf: Rebirth Brass BandMimi’s in the Marigny: MichaelHebert, 8pm; the Emilonius Quartet, 9pmOne Eyed Jacks: Metal Night TuesdaysPreservation Hall: The PreservationHall-Stars featuring Shannon PowellThe Rusty Nail: Open Mic withWhiskey T., 8pmThe Saint: Tikioke, 9pm, FREESiberia: Trivia Night, 8pmSpotted Cat: Andy Forest, 4pm;Meschiya Lake & the Little Big Horns,6pm; Aurora & the Royal Roses, 10pmWEDNESDAYS12 Bar: Brass-a-holics, 9pmAllWays Lounge: Banks St. Bar: FreeBLT’s & Grammy-nominated Blues ofMajor Bacon, 10pmBanks Street Bar & Grill: MajorBacon, 10pmThe Bar: Musician Appreciation Night,7pmBayou Park Bar: U.S. Nero & Friends,9pmBlue Nile: Soundman Presents, 8pm;Gravity A, 11pmThe Box Office: Dan Wallace Quartet,7pmCarrollton Station: Standup ComedyOpen Mic, 9pmCheckpoint Charlie’s: T-Bone Stone& the Happy Monsters, 7pmCircle Bar: Jim O. and The No Shows,6pmd.b.a.: Walter Wolfman Washington andThe Roadmasters, 10pm, $5Deckbar: Blues & Beyond Jam with JohnLisi & Delta Funk, 8pmDragon’s Den: DJ T-Roy Presents:Dancehall Classics, 10pm, $5The Hookah: Entourage Ent. PresentsHip-Hop Night, 10pmIrvin Mayfield’s Jazz Playhouse:Kipori Woods, 5pm; Irvin Mayfield’sNOJO Jam, 8pmPreservation Hall: The PreservationHall Jazz Band featuring Mark BraudThe R Bar: DJ Lefty ParkerThe Rusty Nail: Jenn Howard’s JazzSet, 8pmSiberia: Hump Night: a Dance Party,10pmSpotted Cat: Ben Polcer, 4pm; FreeSwing Dance Lessons, 5pm; The Orleans,6pm; St. Louis Slim and the FrenchmenSt. Jug Band, 10pmYuki: Mojotoro Tango Trio, 8pmTHURSDAYSBayou Park Bar: Pocket Aces BrassBandBlue Nile: Micah McKee & the LittleMaker, 7pm; Bayou International ReggaeNight with DJ T-Roy, 10pm; ’90s Night,10pm (Balcony Room)d.b.a.: Jon Cleary, 7pmDesperados: Loose Marbles, 9pmDragon’s Den: Basebin Safari with DJProppa Bear, 10pmFortier Park (3100 Esplanade): DrumCircle, 6pmThe Hookah: Studio 504 Disco DanceNight, 9pmHowlin’ Wolf: Comedy Gumbeaux,8pm (Live in the Den)Irvin Mayfield’s Jazz Playhouse:Roman Skakun, 5pm; Treme Night feat.James Andrews, 8pmLa Nuit Comedy Theater:A.S.S.tronot, 8:30pmLes Bon Temps Roule: Brass-a-holics,11pmMaple Leaf: Johnny V. Trio & SpecialGuestsOne Eyed Jacks: Fast Times ’80s DanceNight, 10pmRepublic: LEGIT, 10pm, $7The Rusty Nail: Boozin’ Bingo, 8pmSpotted Cat: Sarah McCoy, 4pm; MissSophie Lee, 6pm; Jumbo Shrimp, 10pmFRIDAYSBayou Park Bar: The Revealers, 10pmThe Big Top: Friday Night MusicCamp, 5pmBlue Nile: DJ Real and Black Pearl, 1am(Upstairs)Circle Bar: Norbert Slama, 6pmDesperados: Michael James and HisLonesome, 9pm; Bobby Bouzouki, 11pmThe Hookah: College Fridays, 10pmIrvin Mayfield’s Jazz Playhouse:Professor Piano Series, 5pm; Leon “Kid Chocolate” Brown, 8pm; BurlesqueBallroom featuring Trixie Minx ,midnightLa Nuit Comedy Theater: God’s BeenDrinking, 10pm, $10Le Bon Temps Roule: Joe Krown LivePiano, 7pm, 9pmPreservation Hall: The PreservationHall Jazz Masters featuring Leroy JonesRepublic: Throwback, 11pmSiberia: Dr. Sick Happy Hour, 6pm32

Spotted Cat: Andy Forest, 4pm;Washboard Chaz Blues Trio, 6pm; NewOrleans Cottonmouth Kings, 10pmSATURDAYSBlue Nile: Washboard Chaz Blues Trio,7pm; DJ Real and Black Pearl, 1am(Balcony Room)The Hangar: Ladies NightThe Hookah: M for Mature, 10pmHouse of Blues: Sabado, Fuego, DJJuanes, DJ Q, Midnight (The Parish @House Of Blues)La Nuit Comedy Theater:ComedySportz (1st/3rd Saturdays), 7pmLePhare: DJ JiveThe Maison: Smoking Time Jazz Club,7pmSpotted Cat: Panarama Jazz Band, 6pmBrunch, 10am; Backyard Blues featuringthe Upstarts, 3pm; Poppa’s Party House,Midnight (The Parish)Howlin’ Wolf: Brass Band Sundays withHot 8 Brass Band, 10pm (in the Den)Irvin Mayfield’s Jazz Playhouse:Tyler’s Revisited featuring GermaineBazzle and Paul Longstreth, 7pmLe Bon Temps Roule: Krewe de Guza,10pmMaple Leaf: Joe Krown TrioSpotted Cat: Rights of Swing, 3pm;Kristina Morales, 6pm (1st/3rd Sun.)/Ben Polcer and the Grinders (2nd/4thSun.), Pat Casey & the New Sounds,10pmTipitina’s: Cajun Fais do do featuringBruce Daigrepont, 5:30pmSUNDAYSBanks Street Bar & Grill: RonHotstream & Tony Italiano, 9pmBayou Park Bar: Roarshark, 4pmBlue Nile: Mykia Jovan, 7pm; Mainline,10pmCafé Negril: John Lisi and Delta Funk,7pmCircle Bar: Micah McKee and LittleMaker, 6pmd.b.a.: The Palmetto Bug Stompers,6pmDesperados: Stumps the Clown’sVariety Show Sundays featuring JoRobbin, Stalebread Scotty & More, 9pmDragon’s Den: Church: Dubstep for theMasses, 10pm (Upstairs)The Hookah: DJ RQaway & the RoomService Band, 10pmHouse of Blues: The Sunday Gospel33

Shovels and Rope at Tipitina’s (Annie Pennell)37

words and photos Robert OffnerWe didn't respect radioand I think that reallyworked to our advantageBefore UGK, before Outkast, and before No Limit ever made a dent in the rap game, there were theGhetto Boys. Before them, the South had nothing they could call their own in the rap game. By thetime Grip It! On That Other Level was released in 1989, the group had settled on Willie D asthe enforcer, Scarface as the smooth MC and Bushwick Bill as the comedic relief. By 1990 the groupdropped the “h” and “t” in “ghetto” and became the Geto Boys. Rick Rubin picked them up andproduced a self-titled album that enraged the straight-edged public just by the album cover. BushwickBill had expanded beyond his original comedic role, Scarface was tapping deeper into his psyche withhis lyrics and Willie D was continuing to bring the fury with his aggressive delivery. By 1991, WeCan’t Be Stopped was released and the hip-hop world was never the same. There was no longer anunapproachable topic in hip-hop. The Geto Boys changed the rules without even trying, just spittingtruth. They single-handedly put the South on the map, invented the genre horrorcore, brought rap to adeeper psychological level and addressed the pains of growing up in urban American poverty.I had a chance to catch up with the three of them in the hotel lobby of the Spring Hill Suites on St.Joseph Street before their performance at the Howlin Wolf last month. Willie D was the first one Imet, followed by Bushwick Bill, who was wearing a Yoda backpack. Scarface was fashionably latedue to an extended wait time on a food order at one of New Orleans’ fine dining establishments. For agroup that touched on issues as serious and violent as the Geto Boys, they couldn’t have been more jovialin their demeanor.What was going on in the South withhip-hop before the Geto Boys?Bushwick Bill: Out of town hip-hop. Ididn’t get to Houston until August of‘84. I was just listening to all the musicthat I grew up with in New York. I wasn’thearing any local rappers but I heard thatthere was local rappers. I heard of a songcalled “Car Freak” from a label calledRap-A-Lot and never knew that I’d be amember of the group Ghetto Boys or bea member of the Rap-A-Lot staff/label.The thing I like about Houston is that theylike everyone’s music but it took time fortheir own music to grow on them.Willie D: I was listening to a lot of EastCoast rap... everybody. If it was hot I’dlisten to it, I didn’t discriminate. If it washot, I jammed it. I listened to everythingfrom Grandmaster Flash to KRS, LL,Whodini, Fat Boys, Heavy D, Slick Rickand Doug E. Fresh, all those cats. We hada huge amateur scene [in Houston], a lotof aspiring rappers, nobody that reallymade a mark or anything. I performed at anumber of talent shows and that’s kind of38how I got my reputation battle rapping.New Orleans rapper Big Mike waspart of the Geto Boys for an album.Do you think there is a link betweenthe rap scene in Houston and thescene in New Orleans?BB: Alway. You got to remember, I’mJamaican and I’m originally fromBrooklyn, New York. When I camedown here and started moving betweenHouston and New Orleans going to shows,I started realizing a lot of people in NewOrleans have family in Houston, anda lot of people in Houston have familyin Louisiana. Some of our productioncame from N.O. There always will be aconnection between people migratingfrom a state over to a state back.The Geto Boys were the first groupto really break through out of thesouth, but it’s definitely differentfrom what the Houston sound hasbecome. It’s not UGK or choppedand screwed lean music. Howdo you feel about your influenceon Houston rap without justconsidering yourself a southernartist?BB: So basically what you’re sayingis that Geto Boys didn’t focus on asouthern twang. You want me to tell yousomething else that’s interesting? WhileGeto Boys was taking off in Houston forthe Making Trouble album, there was adude named DOC from Dallas that wentto L.A. and started writing songs forN.W.A. So Texas been in this game for aminute making platinum songs, you justgotta know who’s who.Scarface: Southern rap and putting aboundary on that shit is just disrespectful.As hard as we fought to be a part of whathip-hop was and for them to push us backdown to where we come from to me is likea slap in the face. We worked so fuckinghard to be national.WD: When you cross that mothafuckinstate line, when you cross that southernline, and the people lose their mothafuckinmind when you show up, I think you canofficially say that you are not a regionalact, and Geto Boys have not been regionalfor a long long time.What shifted the Geto Boys frombeing regional to being innovativeand influential nationally?SF: I think it would be safe to say thatthe minute the We Can’t Be Stopped albumcame out and had a gold single off of it,we weren’t a fuckin local act no more. Wewere the first rap act, when Rick Rubinpicked us up, to be denied distribution.The first rap act to talk about just life,like fucking corpses and eating brains.We were the first people to do that shit.Horrorcore is what they called it.WD: [For samples] we didn’t give afuck who it was as long as that shit wasjamming. I remember we sampled N.W.A.That was unheard of, for a rap artist tosample another rap artist.BB: Ice Cube said “AK 47 is my tool.Don’t make me act a mothafuckin fool.”WD: We sampled that for the “Scarface”song. When Ready Red first sampled it,he was just fuckin around. I was like, “Wegotta use that shit.” He said “We can’t usethat, that’s their shit.” I was like fuck that,that shit jammin.BB: And just like Scarface, we were the firstone to sample movies; now everybody isdoing it.WD: Geto Boys started that Scarface trend.Ready Red first sampled it with Balls andMy Word.

Southern rap and putting a boundaryon that shit is just disrespectful. Ashard as we fought to be a part ofwhat hip-hop was and for them topush us back down to where we comefrom to me is like a slap in the face.BB: That’s Al Pacino’s voice. He madehim sing “All I have in this world, all Ihave in this world, all I have in, all I havein, all I have in this world...” Now theyuse an auto-tune format, but Red didthat manually with no computer. All hehad was a Roland 808 drum machine, a[E-mu] SP1200 and two turntables, andhe was making stuff sing.When was the last time Willie D,Scarface and Bushwick Bill all gottogether to do a Geto Boys tour?WD: Over 20 years. We’re talking about1991.BB: Yeah, on the Greatest Rap Tour Everwith Public Enemy.WD: In fact this tour will be the mostdates we’ve done in the last ten years.BB: The last ten years that were spotdates won’t add up to as many as we’redoing now.How do you approach the livesetting after not doing it for solong; and what inspires you tokeep going?WD: Music is my therapy. I wouldn’t givea mothafuckin psychiatrist two goddamnnickels. Man, give me some mothafuckinJames Taylor and a glass of Moet, and I’mgood. Give me some GB on a particularday and I’m good.BB: It’s just like what Shakespeare said:“Music soothes the savage beast.”WD: If you pay us $50,000, you gonna geta billion dollar show, cause it ain’t no priceon performance.BB: You can’t put a price on the memorythat you leave the show with. Youremember when me, you and Face wastalking about George Clinton and howParliament shows was just a memorableexperience? That’s why people havelongevity. If you come to a Geto Boysshow, we want it to be a memorableexperience. Jon Bon Jovi said somethingthat I’ve noticed the Geto Boys have beendoing for the last 20 years. Jon Bon Jovisaid, “When you come to a Bon Jovi show,I’m your host and it’s your party.” When Iheard him say that on the DVD for SlipperyWhen Wet I was like, that’s what we been doing.We want the audience to enjoy themselvesas much as we’re enjoying ourselves, if noteven more. When it comes to performanceand our music, I have to think of literaturelike Shakespeare when he said “All theworld’s a stage and all the people aremerely players. Each playing their ownpart, having their own exit and entrance.”Now when you read something like that,that’s like listening to a Geto Boy albumbecause it tells you what you could dowhen you exit life and it tells you whatyou need to know when you enter life. Tolisten to a Geto Boy album to me is likereading a well-written book that keepsme well-rounded. If you take every GetoBoy album that we ever put out, and youput all those words into a book, it will bea good read. If you took that same bookand turned it into a script, it would be aninteresting movie. Because to me, GetoBoy albums is like scripts to a movie. Ittells you the good, the bad, and the uglyof life. The ups the downs and the turnarounds, it give you all of it.You were the first rap artists to takelyrics into a darker psychologicallevel on what it’s like growing upin the hood and not glamorizing it.Was that something you were goingfor in the studio or did that justcome out that way?SF: We were young and reckless, we didn’tgive a fuck what we said at all.BB: Well, basically Willie D said it bestin 1989 when we were just starting offinterviews for Right On and Word Up! andone of the people from the label wasasking us how do we feel we can representour music, and Willie said “I can’t candycoatno unsweetened world, I can onlysay it like it is.” There’s no way to changewhat the perception of truth is; just givethem the truth in a song. That to me wasthe strongest motivation right there. Beyourself and you’ll be accepted for beingyou; but if you try to be everyone else butyourself you’re going to lose yourself intrying to find yourself.WD: Overall, we had a fuck everybodyattitude. We were like fuck everybodyand if they don’t like it let a fight comewith it. And that was our mentality. Wedidn’t respect radio and I think that reallyworked to our advantage. We still don’trespect radio. We don’t go into the studiothinking “Man, we need to get on theradio.” Let’s approach the song like I’mhaving a conversation with you. I’m notworried about being politically correct.My concern is that you get the correctinformation and the truth.The Geto Boys touched on a lotof horrific things beyond justgang violence and into the realmof horror. How do you feel aboutpeople that listen to your music andonly hear the bad things and saythat you’re destructive to society?BB: You could say the same thing aboutthe news. With media you never hearanything about somebody’s life beingsaved; that might be for the next segmentof the news, but you’ll hear about babiesdying, cars crashing… anything that has todo with death and destruction. Anythingthat’s bad or negative gets all the publicitybut they don’t give you a balance. To me,the media is worse than anything theycould say bad about Geto Boys.WD: One of the reasons why they do thatis because if you can scare the shit out ofpeople you can get them to respond. It’s allabout instilling fear.SF: This is the ball game right here. Andnever forget you heard this from me. Thename of the game is to create mayhem,make everything chaotic, then step in andrestore order and look like a big man.Have you gone through changessince the last tour?BB: Basically where we’re at right now isthat we’re not taking the fans for granted.We’re appreciating the fact that at our agewe’re still loved and respected for what wesaid. And we never did fly-by-night music.We’re not a fly-by-night group. Our musichas always been timeless.WD: If you listen to GB, you basicallyhear the soundtrack of your life.BB: And I’ve had a lot of people tell methat “When you rap, I felt like you weretalking to me. You helped me get throughthe army; you helped me get throughschool; you helped me make it through thehood.” And I’m amazed because whenyou’re in the studio you don’t think thatthat’s what you are doing; you just wantto inform the people of what’s going on inthe ghetto. The ghetto is something thatyou either get taken under by or you makeit out of.WD: For me, I grew up on Stevie Wonderand listening to Stevie Wonder musicprobably saved my life. I was suicidal [a]couple times. I was homicidal; I’d kill someshit, too. Listening to Stevie Wonder andjust listening to that music gave me somehope. His music was like look: this is what’sgoing on and this is what you shouldaspire to be and this is what I think shouldbe going on. My thing was like when Imake music, I want to talk to the people.And I always want to make sure that I’maware that people are fucking struggling.It’s people out there that’s struggling.It’s people out there that’s hurting. It’simportant for me to know that all thesepeople are going through shit and I wantto talk about it. I refuse to just come intothis world and suck up oxygen and take upspace and have a bunch of fuckin fun andhave some babies and just check out ofhere without making a contribution. Thatwon’t be my legacy.BB: See, he liked Stevie Wonder growingup and I liked Bob Marley. We’re from thesame part of Jamaica, Trenchtown Rock.You could pick up a Bob Marley recordright now and you’d feel like it fits yoursituation today. And that’s my appreciationfor Geto Boys music and old school musiclike that.WD: Classic music, not old school.What projects do we have to lookforward to from the three of you inthe future.WD: Let them know that there are talksof a new Geto Boys album and I amworking on my column. Go to askwillied.com; it’s an advice column.SF: I got a book deal I signed off onpretty recently. The name of the book iscalled Made. I’m gonna be a publishedauthor now, so don’t just be fuckingcalling me Face no more.BB: I’m working on an album calledChecks and Balances. A few more songsand I’ll be done. I’m working with locallegendary band members from Austin.That drops August.39