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The Pogues bring the riffraff to this
COVER DESIGN: year’s Voodoo Music Experience
EBSL | Erik Kiesewetter | erikbelowsealevel.com
Photos by Aubrey Edwards

We like stuff! Send it to: FEATURES: COLUMNS: REVIEWS (pg. 24):

Albums by Jay-Z, Raekwon, The
4916 Freret St. ANTI-News_page 6 Guidance Counseling_page 10 Way, Yacht and more...
New Orleans, La. 70115 Some of the news that’s fit to print.
Mondo Bizarro dishes advice.
Have listings? Send them to:
Pygmy Lush_page 16 The Goods_page 11 EVENTS (pg. 28)
events@antigravity You can have it quiet or loud... Gold-plated bumblebees! October listings for the NOLA
magazine.com area...
ANTIGRAVITY is a publication of
Mike Kennedy_page 17 Dr. Feelgood_page 12
The director speaks... Things you can’t unsee...
ANTIGRAVITY, INC.
“Slingshots, Anyone?”_page 13
COMICS (pg. 34):
Loup Garou_page 18
RESOURCES:
Qomix, How To Be Happy,
This play will turn you... That sneaky, sneaky Derek... K Chronicles, Firesquito.
Homepage: Gogol Bordello_page 19 Homefield Advantage_page 14
antigravitymagazine.com The Saints’ first three games...
An immigration to Voodoo...
Twitter: Photo Review_page 36
twitter.com/antigravitymag The Bingo! Parlour_page 20 The month in photos.
A look at the history of Voodoo’s big-
MySpace: gest tent J Yuenger’s Crossword_page 38
myspace.com/antigravitymagazine Can J stump you?
Sissy Nobby & Big
Freedia_page 22
Who says sissies can’t be hard?

INTRO

N
ot that it’s ever a hum-drum borefest around here, but it’s been a super-busy time in
the AG world. You’ll notice a new address over to your left, and that’s because we’ve
moved into our first office space since waaay back in 2005, when we had a space (oh,
for about two weeks before Katrina) above Handsome Willy’s. We’re now inside the freshly
re-opened Crescent City Comics on Freret St., and in my mind there’s nothing better than AG
mixed with some comics, so come on by and say hi one day. We’re having a get-together on
October 17th, when we bring in Kody Chamberlain (Punks, 30 Days of Night) and Rob Guillory
(the immensely cool Chew) for a live art show. You’re invited, so show up around 7pm and
prepare to be amazed. Oh, and if that’s not enough going on, the Voodoo Music Experience
returns this month and Halloween weekend looks to be better than ever. If it’d just get a little
cooler, it’d be a perfect time in New Orleans. I’m sure that’ll happen soon enough, and then we
can all appreciate what could be the best October, event-wise, we’ve had for a long time. See you
around (a bunch this month)! —Leo McGovern

4_antigravity: your new orleans music and culture alternative

 ANTI-NEWS
ROTARY DOWNS BRINGS A LITTLE BRASS BED WIDENS THEIR PRESENCE DOWN
HALLOWEEN VOODOO TO D.B.A. THE ROAD
by jason songe photo by allison bohl

F
or the last two years, popular local indie band Rotary Downs has played the Voodoo

B
Music Experience on a Saturday. And each year they’ve capped that set off with a night rass Bed draws large audiences in their hometown of
show at d.b.a., their favorite local haunt. The first year featured a set and theme crafted Lafayette and Baton Rouge, but it’s been a bit more difficult
by local artist Miranda Lake (she was also responsible for the stunning artwork on the cover for the rock quintet to garner crowds in New Orleans. For
of the band’s highly-praised 2006 release Chained to the Chariot) that took its inspiration from the last three years, Brass Bed has played to inconsistent crowds
a nightmare golf course. Last year, the band upped the ante with a set designed by local artist at The Saturn Bar, Carrollton Station, The Circle Bar, and Café
Heidi Domangue that featured a sci-fi theme complete with black lights and also included the Brasil. Now, they might be making a dent. They’ve started to trade
band covering themselves in glow-in-the-dark paint and handing out 3D glasses to the audience. shows with popular local bands like MyNameIsJohnMichael,
This year’s artist and theme are a tightly guarded secret, but drummer Zack Smith warned fans Generationals, and Caddywhompus—groups that can pull in
to “be prepared for anything.” He added “I require that a smoke machine be in operation, but the massive college crowd—and they opened for The Walkmen
at One Eyed Jacks at the end of September.
But, why should you care, right? Is this band good, or what?
Yes, they rule. And not in the “O’Doyle rules” or “San Dimas
High School Football rules” sense of the word. They rule over all
the other pop/rock bands in the region. Is that hyperbole? Yes,
it is. They actually come in third to Rotary Downs and Big Blue
Marble, who’ve somehow managed to stay the two best local
rock bands over the years (who will challenge this crown?).
Brass Bed has a knack for catchy melodies, but it’s their passion
for dynamics, arrangement, and instrumental creativity that makes
them special. One second they’re all swooning harmonies and the
next they’re rocking out so hard they’d make a trucker wince. Of
course, anyone can throw in the kitchen sink, but Brass Bed makes
you love them with the careful choices—which always seem to be
the right ones—they make with everything from a Moog to a pedal steel guitar to a tambourine and a fuzz bass.
ANTIGRAVITY recently called vocalist and guitarist Christian Mader to talk about recording their upcoming
second LP, evolving as a songwriter, and the evil of click tracks.

ANTIGRAVITY: How’s the new album coming?

Christian Mader: It’s going great. We’re really pleased with it so far. All we have to do is the vocal tracks now,
and what’s left is finding the money to print it and promote it. We’ve been working at a studio called Cacophony
Recorders in Austin—it’s a really great studio. One of the two engineers, Danny Reisch, recently went to Athens
to help record a Deathray Davies album with The Olivia Tremor Control’s horn section.

then I leave it up to the artist to add dimension to it.” In terms of content, fans can expect to Has it been difficult traveling back and forth?
hear most of the tracks from Chained to the Chariot and some other old favorites, but should also No. We recorded the album already. We did everything at home first. One of the things that made it easier is that
be prepared to hear some newer material. The band has been integrating these new selections we were able to pretty much get all the basic instrumentation tracked live to tape. What’s going to be really distinct
into shows in anticipation of including them on their upcoming release. “We will be playing about this record versus the last one is on the last one we recorded [all] the guitars and bass parts live—pretty
a lot, if not all, of our new songs, which are harder, darker and more psychedelic pop,” Smith much the only thing that stayed from the original tape were the drum tracks. For this record I would say 90% of
said. In addition to original material, the band plans to play a handful of covers, including the things put on tape are still going be there. Original guitar solos, original basses, all that stuff. We were trying to
some familiar takes on tunes by Joy Division, Silver Jews, The Cars and Johnny Cash. “But,” get something that’s more reflective of how we sound as a live band these days. We did the last one with just the
Smith added, “we’ve got three new covers we’re doing especially for this night; you’ll just have three of us, and we became a much bigger sounding band afterwards. This time we’re able to start from the way
to be there to see.” Smith also hinted at the possibility of some special guests sitting in with we sound as a band and then build on top of that with overdubs. As opposed to before, where it was like, “We’re
the band. This year is the first year the show has fallen on Halloween, so if you happen to find gonna start with a guitar, bass, and drum and see what we can get out of that.” Playing through something and
yourself wandering Frenchmen St. with claustrophobia setting in as you marvel at the number being to accept it as a whole is a nice thing. It’s a live take. It’s just a really pristine recording quality of our band
of naughty nurses and slutty flight attendants heaving up hurricanes and hand grenades on the performing. Keeping whole takes forces you to be comfortable with mistakes. We couldn’t allow ourselves to get
sidewalk, pop into d.b.a. for what’s sure to be a mysteriously fun night of camp and psychedelic mired in, “I missed that note or that note,” [because the song as a whole] came out great. It’s really cool. You do
rock with a healthy dose of audience participation. —Erin Hall have to live with things, but you kind of learn to love it. Those great mistakes, as they say.

In that spirit, how many takes did you normally have to do?
DRIVE-BY TRUCKERS LOOKS OUT FOR It varied from song to song. There were one or two that we nailed in two or three takes and some that took several
VOODOO MOUNTAIN hours. With some songs, having played them for so long, we thought it sounded one way, but then you hear it
back—“Wow, that’s how we’ve been playing it.” We need to re-think exactly how we’re doing it. The really hard

I
ones are the ones where you have to restrain yourselves. You know, “We want this to be small-sounding,” or
very rarely express “come in with a slow, pronounced groove as opposed to trying to hit really hard.”
intense amounts of
pride for my home Normally, you’d think, “They must have recorded it first,” but maybe they didn’t. Maybe they recorded it
state of Alabama. We after they fleshed it out live.
don’t exactly have One thing that’s really hard to kill, man, is that urge to be like, “We’re here, we’ve got all this stuff, what can we
the best track record put on it?” Sometimes you want to capture something innocent and true about things you worked on and other
for intelligence or times you really do want to think it out, like, “What are we really trying to get out of this?” We didn’t work to clicks
because one of the things we pride ourselves on as a band is having a lot of push and pull. We don’t play straight.
progressiveness. Hence
We’re not going to play at a straight 120 bpm for three minutes.
I try to distance myself.
Only two things can What’s the biggest difference between this record and the last one?
ignite the full force of The songs are much better. They’re a lot more memorable, and the stuff that I’ve written has more lyrical hooks.
my Southern pride: The content is, I don’t want to say deep, but the music and the lyrics are more fixed to one another. The pieces
Auburn football and a come together better on this record—the lyrics, the melodies, the arrangements, whereas before it was like, “This
good set by the Drive- chord progression is really neat,” or “I like fuzz guitars. Let’s put some of that in there.”
by Truckers – arguably
Seems like you guys might be on track to finally make an impact in New Orleans. You’re trading shows
the best band Alabama has ever produced. Their songwriting fully embraces the
with bands like MyNameIs JohnMichael, Generationals, and Caddywhompus. How are you approaching this
revered Southern tradition of spinning a good yarn while their multiple guitar surge of activity?
assault brings more than a dash of punk attitude to their sound. They sing songs New Orleans has definitely been a white whale for us. We’ve always done well with the industry in town—bar
about the everyman. About the blue-collar factory worker. About the neighborhood owners, bartenders, talent buyers, journalists, but we still need to translate it to the people that come to the shows.
drunk. About race car drivers and corrupt sheriffs and Lynrd Skynrd. They also That being said, we’re totally excited about the shows coming up. They’re huge opportunities. The thing that’ll
sing about the shameful history of their home state and how we all must learn from prove to me that we’re gaining influence in the city is whenever I see those people coming to see us without those
those mistakes. Their music marries the two warring sides of my personality and names associated. We’re looking forward to watching the friendships we have with the bands you mentioned—
proves that being proud of your Southern heritage does not have to equal being a MyNameIsJohnMichael, Generationals, and Caddywhompus—blossom, brining them here, them bringing us
there. We’re definitely in a better position than we were two years ago.
racist redneck. Also, they just make kickass rock’n’roll. Songs I’ll be listening out
for: “Lookout Mountain,” “Where the Devil Don’t Stay,” “Sink Hole,” and “The For more information on Brass Bed, go to mybigbrass.com. The band plays the CMJ Music Marathon this month in New
Living Bubba.” —Erin Hall York City.

6_antigravity: your new orleans music and culture alternative

 ANTI-NEWS
YOUR MOM WANTS TO ROCK AND MCFARLANE RETURNS TO HAUNT COMIC
ROLL ALL NIGHT SHOPS THIS MONTH

A T
nother Voodoo Music Experience odd McFarlane is coming back to comics. That either
is upon us and it’s time for a “does” or “does not” mean something to you, depending
couple of festival survival tips on what comic-reading generation you come from. There
(things can sometimes get crazy when was a time, in the early ’90s, when Todd McFarlane was the
you’re sipping on huge cups of watered- most prolific pop illustrator of his era, the creator behind the
down mixed drinks). Sure, you probably 1990 relaunch of Marvel’s Spider-Man, which sold millions
know that you’ll need sunscreen and of copies, and Spawn, which was McFarlane’s 1992 creator-
a strategic plan to sneak all kinds of owned series that also sold millions of copies, making a mint
things past security (tip: socks are not a for McFarlane in the process. Spawn remained a best-selling
good place to hide snack cakes, man). comic series through the end of the ’90s, but McFarlane really
However, you may also note that this stopped contributing the artwork long before then. McFarlane,
year’s VMX will feature a disproportionate amount of what we kids like to refer to as “old it seems, was more interested in using his millions to start a toy
people.” Old people, you see, birthed us. They’re our parents’ age. And odds are, if you company and buy useless knick-knacks like Mark McGwire’s
were born in the late 1970s or early 1980s, your parents probably got it on while listening to record-setting home run baseball. Flash-forward a few years
“Rock N’ Roll All Night.” It’s a horrifying visual image, but also a painfully realistic one, my and this guy called Robert Kirkman comes onto the scene and
friends. You’ll know the O.G. members of the KISS Army because they’ll look like wrinkled becomes relatively prolific in his own right. Kirkman is the guy
Juggalos, but with less Jncos and more plastic shoulder spikes. For those seeking a diversion who pretty much started the “zombie revival” that’s gone on
from the KISS psycho circus at VMX, there’s also The Pogues, featuring longtime front man in popular American culture since the early 2000s when he
Shane MacGowan. The Pogues were the first band to really bring Irish folk music into the created The Walking Dead, which (probably) is the best-selling
vernacular of popular music, ushering in a golden age for tin whistle players (tin whistlers?). independent comic book of the current decade. Kirkman has
Years after the initial breakup of The Pogues, groups such as Flogging Molly, The Dropkick also created a bunch of other books, notably Invincible, which has
Murphys, and The Real McKenzies would use the hook of “Celtic rock” pioneered by Shane sort of become a de facto flagship title at Image Comics, seeing
MacGowan’s group as their own ticket to fame, fortune, and yearly gigs on the Vans Warped as how Spawn has fallen a bit by the wayside in McFarlane‘s
Tour and appearances on Late Night with Conan O’Brien. MacGowan was famous in his own absence. Kirkman originally approached McFarlane in 2006
right, becoming somewhat of a folk hero for his unabashed and seemingly good-natured about returning to comics to collaborate on a new project and
alcoholism and jaw-droppingly hideous lack of dental hygiene. Their appearance at this year’s Haunt, the love child of Kirkman and McFarlane‘s unholy pact, will finally be made available in comic book
Voodoo also marks The Pogues’ first tour stop in New Orleans since reuniting earlier this stores this October (thereby averting the distinction of becoming the Chinese Democracy of the comic book world,
decade. There’s a lot of “Irish love” in New Orleans these days, it seems, so there’s that. My maybe). The project also features the work of Ryan Ottley (Kirkman’s longtime collaborator on Invincible) and
girlfriend wants to see The Flaming Lips on Sunday, the final day of Voodoo. I think if we Greg Capullo (famous for being “the guy who took over Spawn after McFarlane”). In some ways, Haunt may be
can make it out alive before Lenny Kravitz plays, we’ll be just fine. While I do remember a bit more about the creators involved with it than the actual story of Haunt itself. Haunt is a supernatural revenge
some good things from Kravitz during his Circus era, it’s the highly annoying “Fly Away” story about a Catholic priest who’s haunted by his brother’s ghost. Together, the two join forces to… well, what
and “American Woman” part of his career that always comes to mind first. I think I still have actually happens within the pages of Haunt is kind of irrelevant. It’s a ridiculous American superhero comic book
post-traumatic stress from hearing those songs everywhere in the early 2000s. Oh, and there’s with ghosts and ghouls and dudes with guns and no pupils in their eyes. For his part, Haunt will be McFarlane’s
Jello Biafra on Sunday as well, but no sign of Henry Rollins or Greg Graffin or even Danzig. first new, major creation since the debut of Spawn, so there’s certainly the added allure of “how good will this be
Don’t laugh. I had to throw Danzig in there. He’s hosting the next Rock of Love reality series on or will it just end up being moldy wastage?” The first issue of Haunt is slated for release on October 7th, with the
VH-1, you know… —Brett Schwaner second scheduled to hit comic shops in early November. —Brett Schwaner

antigravitymagazine.com_ 7
 ANTI-NEWS
LAND OF NOD ESCHEWS VOODOO FOR A SECRET NO MORE: THE MASKED
BENEFIT FOR THE MUSICIAN’S CLINIC BAND BALL RETURNS UNITED

W F
hile The Voodoo Music Experience doesn’t offer nearly ourteen years ago, Anthony DelRosario (aka Anthony Turducken) and Jake Springfield
the amount of artists larger music festivals like Bonnaroo had the idea of starting a masked band ball. The early balls took place at the iconic
and Coachella do, in the past decade it has packed a punch Mermaid Lounge with themes ranging from “Post Punk” to “Malcolm Maclaren bands”
with its diversity and festive celebration of New Orleans culture with and even, for a few years, expanded to an additional Mardi Gras event. Bands performed as acts
the inclusion of areas like the Noomoon Tribe’s Land of Nod stage. from Devo to The Ramones to AC/DC.
For nine years the stage provided concertgoers an alternative to the All these years later, the tradition lives on. Turducken handed the reins over to Michael
national and pop acts of Voodoo by featuring an almost exclusively Patrick Welch (aka White Bitch) and DC Harbold (of a plethora of local bands, but perhaps
local roster of bands, DJs, vendors, dancers, and performance artists. most notably of Clockwork Elvis fame). While these two are heading up the event’s planning,
Throughout its nine year run Noomoon received hardly any Welch noted, “It doesn’t really BELONG to any one person; it belongs to all the people
financial funding from the festival. The money used to fund the involved.” He also described it as “a populist lovefest.”
stage, which boasted fifty-five acts during last year’s Voodoo, came This year’s event will be held on Thursday, October 29 at the Hi-Ho Lounge and will feature
from small sponsorships and out of the pockets of Dan Sheridan, live music, comedy and burlesque by some of the city’s best. But good luck trying to spot them.
Noomoon’s stage organizer. They’ll all be in deep cover, masquerading as famous comedians, tease queens and musical
“Quite a few Noomoon performers are bummed out because they planned for (Voodoo) all year.” Sheridan said, artists ranging from George Michael to Television.
“A lot of the bands we booked would drive from Michigan, California and all over the country to play [Voodoo] for Welch has been participating in the show since moving to New Orleans in 2001. “It was
free, since Noomoon normally could not offer them any money. And a lot of bands that we brought to our stage don’t the first big fun show I ever did here, and was the first time I realized, ‘Wow, this place is
get booked at Voodoo because they don’t fall under the category of commercial festival bands.” wild and full of love and art, and I am so happy I moved here,” Welch reflected. During his
After shelling out $7,000 on a rider, hotel fees, and accommodations to host Fishbone at the Noomon stage in eight-year tenure on the bill, Welch has indulged in portraying artists as wildly diverse as Hall
2008, Sheridan realized he had to throw in the towel on his labor of love. While many of the bands played the stage & Oates, Public Enemy, Nirvana and Prince. He stated that his tendency is to “pick bands
for free each year, Sheridan says that he usually ended up $2,000 to $4,000 in debt annually. that other people either scoff at, or only appreciate ironically (serious guilty pleasures),” but
“I’ve done it myself for nine years and put out a ton of cash and so much work.” He said, “I’ve had to turn down that he views as “incredible acts that I feel 100% sincere love and respect for.” “I like to make
other jobs to do it. I just can’t afford to do it anymore.” people stop laughing at great music!” he exclaimed. After all, the overall theme of the party is
In the August 2009 issue of Antigravity, Voodoo Executive Producer Steven Rehage said he was never contacted by to “rock everyone.” Another major component is full immersion. No originals! In fact, Welch
Noomoon and that he was unaware of the financial difficulties they were facing. “I am sure,” Rehage told Antigravity, said, “If someone plays an original the cane will drag them off the stage and they will never be
“that by the time this article comes out Dan and I will have had a real conversation about this.” invited back!” Despite not falling exactly on Halloween this year, Welch noted that costumes
When asked if any progress had taken place since the article was published Sheridan said, “No. Nothing has are always welcome and encouraged.
changed. I had some conversations with Steve Rehage online. There were certain e-mails I sent to him back in the day When asked for a comment about his contribution to the event, Harbold merely said, “Actions
talking about Voodoo. He said by the time he found out Noomoon was having financial troubles (the festival) had speak louder than words, so enough with words…action now!” So let’s get down to it.
already set its budget for the year, and that there was nothing they could do about it.” This year’s lineup includes to-be-announced local comedians as well as burlesque by the
Sheridan added, “For the price of one national band we could fund our entire event. I don’t understand why Reverend Spooky Lestrange and Her Billion Dollar Baby Dolls. The music lineup includes
[Voodoo] doesn’t have it in their budget, and that’s what I’ve heard every year when I’ve asked for funding. It might Bipolaroid as Guided by Voices, Clockwork Elvis as Nick Cave, Eric Corveaux fronts Motley Crue,
be our curse for doing it so long for no money.” —Dominique Minor; Pictured: Ratty Scurvics at Land of Nod ’08 Local Skank as Jem and the Holograms, Big Blue Marble as Tom Petty, Junior League as The
Smithereens, Jeff “Guitar” Nelson as T. Rex, Idiot Box as Television and White Bitch as George
The Land of NOD will be held on October 16th and 17th in Dutch Alley in the French Quarter. Confirmed acts include Michael. —Erin Hall
Zydepunks, Ratty Scurvics, Sista Otis, R. Scully and The Rough 7, My Graveyard Jaw and more. For more information
The Super Secret Fireman & Turducken Masked Band Ball will be on Thursday, October 29th at the
Noomoon log on to landofnodexperiment.com, and for Voodoo, thevoodoomusicexperience.com.
Hi-Ho Lounge.

8_antigravity: your new orleans music and culture alternative

 ANTI-NEWS
THE INFINITE HEAD SPACE OF IMAGINE “THE” BAND
by dan fox artwork by keenan marshall keller

Y
our eyes, ears and common sense tell you one thing: that What does Imagine “the” Band tour in? Are you all like a “get What material have you been working on?
a lone man flails about onstage, backed only by dead air in the van” type of band or a full-on tour bus and 18-wheeler I think I’ll let Rile Answer that one. Rile: “.” [Laughs] You son-of-
and whatever’s draped at the back of the stage. Maybe he convoy? a-bitch, you weren’t supposed to tell them that! “!” Whoa, that’s
brings out a child-sized mannequin (that he claims as his own off- Well, out here in the desert it doesn’t really pay off to own boats enough. Here’s some money; go get some drinks or somethin’.
spring) for a duet. But your imagination and the voices in your own like we had when we stayed in New Orleans. Hell, you could just Geez, that guy. You won’t print that, will you? I can say this
head tell you something different, and you see what this lone man, paddle from the French Quarter to Metairie, just like they did in about the recordings—and everyone that’s been following along
a wet suit practically painted on, headphones ripped from what The Big Easy movie. Out west it’s all horses, though, so I’ve had with the problems over at EWELUVS8N records can agree—that
looks like the language lab of your old high school strapped to his to take up horse shoein’ just to pay for oats, and that’s no hay day if we don’t come to some understanding quick, then we’re just
head and “special” training shoes on his perpetually moving feet if ya know what I’m sayin’?! To get back to NOLA we’ve had to gonna have to take this to the MREP. I don’t think the fans or the
sees: a full entourage of ghosts and spirits banging away at a host of work out different things: we have a guy with a mini-RV—one industry want that.
instruments, while smoke machines, pyrotechnics and a full arsenal of those Toyota numbers from the late ’80s—he’s agreed to take
of stage lights explode around them. During a prolonged stopover the equipment and Tony Rodriguez. Johnny is gonna ride his What can we look forward to hearing for the first time, both
in New Orleans, I”t”B charmed, frightened and angered crowd motorcycle; Rile and I will fly out there and The 6th Digit started originals and covers?
after crowd before leaving I’m putting together a very
for the greener pastures and special medley just for
sunnier skies of Hollywood, New Orleans, to show my
California, a far cry from their appreciation for my favorite
hometown of Hollywood... district of town, Little Tokyo.
Florida. Imagine “the” Band I spent a lot of time there
returns this month to New when we had out time in New
Orleans, and AG was lucky Orleans, drinkin’ lots of Soju.
enough to catch up with It’s a medley of a very, very
Singer Egos Personos and the famous live album from the
rest of I“t”B before their long late ’70s done in “The Orient”
journey East. and features two amazing
covers, one by Joan Baez and
ANTIGRAVITY: You the other by Fleetwood Mac.
moved to L.A. recently. I’m very excited about this
How different is Hollywood, medley. I will not be bringing
California from your any other new material to
hometown of Hollywood... New Orleans; too much has
Florida? been put at stake in the studio
EP: Yeah, ya know, I been lately, mainly our own lives
tryin’ to figure that one out. with the writing process,
The hills are different; there’re one of the other reasons we
less Cubans; it’s not as fake are happy to be traveling
as Hollywood was. Here in separately.
Hollywood there’s not all that
“BS” there was in Hollywood, So, do all your fans have to
like the time we went up to keep Imagining “the” Merch
Maryland, to a little town or can they look forward to
called Hollywood. They knew some t-shirts or live DVDs,
immediately our drummer or at least a beer coozie?
was from Hollywood I have a limited number of
because—you know Johnny silver-metallic-flake-hand-
Boomboom Bammbamm just reeks of Hollywood—so they knew walkin’ there about two months ago. He said if it looks close he’ll engraved-by-myself 7-inches that come with a DVD/EP and
immediately; just like they do now in Hollywood. They know figure it out. That’s the one guy I never worry about. I don’t even an autographed 8-by-10; I call it the Party Pack. I’ll only have
he’s from Hollywood, so there’s that...and the accents, man. know how he got in the band, really. a limited number of t-shirts in the men’s (small and medium
People talk funny here in Hollywood; it ain’t like Hollywood at sizes and a few in all the ladies’ sizes). I may have some special
all. I’m always like, “Huh?” Then they usually say somethin’ like, How’s Junior? He seemed a little stiff on stage last time. Has Imagine “the” Band ceramic beer steins/pint cups on hand,
“That’s just what I was gonna say.” Then at the same time we he loosened up? too; NoGod willing. Well, I gotta get some shoes ready for the
both will say, “You must be from Hollywood,” then they give You must be talkin’ about Lil’ E. Oh shit, he’s grown up real big. morning commute. The horses hate a late start with old shoes.
you a free ice cream ticket. That’s the big thing out here right He likes Hollywood, what with all the horses and stuff. He misses
now; they sell ice cream everywhere. There was an explosion at a the Cubans, though. He doesn’t care too much for performing these Imagine “the” Band will be performing on October 16th at the Saturn
dairy farm so there’s an excess of milk, so you get free ice cream days; he’s gettin’ to that age. Yeah, already talkin’ about “going Bar, opening for Thee Oh Sees, Static Static and Wizard Sleeve. For
a lot here. Wish we had that back in Hollywood. solo.” Man, they grow up fast...we just celebrated his 6th birthday. more information go to imaginetheband.com

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antigravitymagazine.com_ 9
 COLUMNS ADVICE
GUIDANCE COUNSELING
this month’s trusted advisors: suplecs
THE AGE-OLD QUESTION: WHAT’S A HIPSTER?

T
he unique blend of blues and metal that New Orleans’ own Suplecs’ have
cultivated over the years speaks to the tormented soul in all of us. With album
titles like Sad Songs, Better Days and their most recent full-length, Powtin’ on the
Outside, Pawty on the Inside, it’s clear the grizzly trio of Danny Nick, Durel Yates and
Andy Preen have suffered enough heartbreaks, headaches and back aches for all of us,
making them perfect for this month’s collection of sad sacks. Plus, they’re about two
hundred years old collectively, so they’re stocked in the old-man-wisdom department.
You can catch them at the Voodoo Music Experience, playing Sunday, November 1st.
They also just released a three-song EP that you have to ask them for; it’s got a cute little
number called “Tried to Build an Engine” that could be its own form of therapy. For
more info on these paw paws of rock, go to suplecs.com.

My boss is younger than me and I don’t like it. He’s very cool and I almost wish he was a dick so
this would be easier, but there’s something about being told what to do by someone younger and it’s
making my job a lot harder than it should be. How can I get over this?

It’s naturally hard to take orders from someone younger than you. Unfortunately, that’s
the reality of the world we live in. My best advice is to separate your personal feelings
from your professional life. Work is work, and play is play; that’s why weekends were
invented. Life has a funny way of making these things work themselves out. Hang in
there, and definitely don’t lose your cool. If push comes to shove, grab your boss by the
throat and remind them that they are younger than you and, therefore, more weak.

My boyfriend and I are about to break up, and the worst part is the whole dividing-up-the-friends
thing. Our social network is so intertwined that it’s going to be really awkward because it’s going to
be a shitty break up (my bf is a drama queen and that’s part of the reason this is happening). Got
any tips for divvying up our people?

Unfortunately, breakups are never easy and you can’t control who takes whose side in
the divorce. The best thing to do is take the high ground and “be nice.” Some people are
looking to rile you up after a breakup... “Be nice.” They see you out and try to break your
stride by bringing up shit you really don’t want to talk about.. “Be nice...” These people
are pathetic in their own existence because your life drama is more important then their
own... “Be nice.” They will look to interpret your actions any way they want to justify
their version of the story of your life... “Be nice.” Unfortunately, you can’t control what
they do or say behind your back, so “Be nice “and take the high ground... until it’s time
to “Not be nice.”

What is a hipster?

To find a hipster in this town, a good place to start would be Mimi’s in the Marigny.
They usually wear tight, skinny jeans because they don’t weigh much, usually because of
all the coke they do. They don’t work because their parents have set aside a nice chunk
of money for them in what us commoners call a trust fund. They got bad hair because
someone on coke (probably bumming some of their stash) told them it looks cool. They
usually don’t play in a band, yet have strong opinions of those who do. They usually like
shitty music, because they can easily relate to things simple even though they can pretend
to be complex. They sometimes carry instruments with them even though you never
see them play one (this is usually a weird horn or fiddle with no strings—makes them
seem more mysterious). Generally speaking, they are masters of deception and usually a
letdown if you get to know one. Mimi’s is still a great bar though, in spite of this, with an
even better bar staff. Ah, what do I know, I was 86’ed from their years ago.

10_antigravity: your new orleans music and culture alternative

COLUMNS FASHION
THE GOODS
by miss malaprop [email protected]

SAVVY SAVOY TRUFFLE

I
first discovered the work of Theodora Eliezer at the Alternative Media Expo this past
spring. I was immediately struck by her creepy cool steampunk aesthetic. For her line
Savoy Truffle, Theo combines materials such as dried flowers, feathers, bones and dead
insects to create one of a kind hair accessories and jewelry. Her feather fascinators are the
perfect addition to any dark Victorian Halloween ensemble, and a necklace made from a
copper-plated dead bumblebee is sure to turn heads. I recently caught up with Theo to find
out how she got started concocting these wonderfully wicked creations.

What’s your background and training as an artist?

During my upbringing I was constantly encouraged to express myself artistically, so it has
always been second nature to me even though my formal training only consists of one
year at NOCCA in high school. I’m a self-taught painter and have been making elaborate
costumes and headdresses since I moved to New Orleans ten years ago, but it was only last
autumn that I allowed
myself to really consider
making a living in the
arts. This spring I decided
to take a leap of faith and
started my line, Savoy
Truffle, which combines
my love of costuming,
frivolous adornment, and
uncovering the beauty
in old and discarded
objects.
I just started assisting
a local designer recently,
which has been great
so far because as I
mentioned I’m entirely
self-taught. At this point
I don’t want to move
to go back to school for
design, so being able to
study under someone is a great opportunity for me. I’ve made garments in the past, but it’s
always been based on sheer inspiration, so I’m excited to develop some actual technical
skills in that field. Although Savoy Truffle only consists of jewelry and accessories at this
time, I feel like it’s a good investment to understand more about how garment design and
construction works.

Where do you find your materials? Do materials come first and then inspiration, or do you
seek out certain materials to work with?
I find my materials in different ways according to the collection that I’m working on. For
my electroformed (copper plated) jewelry I’ve enlisted my friends to help me collect small
dead things that are suitable for the copper plating process. At first I thought people would
be offended by my willingness to interact with dead birds and insects, but I’ve received a lot
of support and enthusiasm. I think that it’s easy to understand how using the remains of an
animal that was killed by a car in order to make wearable art honors the life and beauty of
that creature. For this particular process, the materials always come before the inspiration
because it’s impossible to dictate what sort of remains I’ll find to work with.
For my fascinators I try to use as many vintage materials as possible so I deconstruct
garments that are made of great fabric but will probably never be worn again. I’m currently
transitioning to using 100% cruelty free feathers for the fascinators, and have found some
awesome sources for cruelty free products online. Online auction houses and collectors have
also been a great resource for my Clockwork & Noir collection, which features materials
from the 1800s, such as pocket watch gears, monocles, and Victorian skeleton keys and
keyholes.

What are your favorite places and things to do in and around New Orleans?
All of my favorite things to do in New Orleans are pretty simple. In warm weather I love
riding my bike through the Marigny and French Quarter while listening to the music of
the Calliope coming from the river, and I adore the fairytale montage of Storyland in City
Park, so going there is my favorite winter activity. Week to week I try to be supportive of
other creative people in the community as much as possible by going to art openings, film
screenings, or other activities that showcase the diversity of talent and vision that we have
here.

Any favorite local shopping destinations?

I don’t shop for clothing much. I most enjoy crowded junk/antique shops with lots of
interesting things to uncover like the Bargain Center in the Bywater and Le Garage on
Decatur. I also love the smell of old books so I like to poke around in used bookstores for
fun, especially the ones that have friendly shop cats.

Where can people find your work?

My designs can be found at Magazine Metals (2036 Magazine St.), GOGO (4222 Magazine
St.), the Kiki Hughes Boutique in Philadelphia, and online at savoytruffles.etsy.com.

antigravitymagazine.com_11
 COLUMNS MEDICINE
DR. FEELGOOD
by nancy kang, m.d. [email protected]

FIELD GUIDE FOR THE DEAD

A
few weekends ago, I was in San Francisco
for a conference on livers. It was great.
I met lots of famous pathologists. I ate
wonderful ethnic food. I rode the trolley. It was
very clean and safe. But I missed New Orleans.
I missed the dilapidated buildings, the humidity,
the flashing police lights. No doubt we live in a
dangerous city. Maybe that fuels my interest in
the morbid. But it’s not just me!
All sorts of people are fascinated in homicide,
suicide, mass murder and the like. Crime scene
investigation and forensic science have been the
rage for many years. But how much exposure
does one get to real forensic information? Besides
misleading or false methods portrayed on TV
(CSI featured a demo on human electrocution by
hooking up a pickle to a car battery), there are
lots of urban myths about forensic science and
what it can and cannot do. So here is a quick
forensic field guide. Although this information
is factual, this is for entertainment purposes
only. I do not suggest you use these new forensic
investigation skills if you stumble upon several
dead people in a trailer.

TIME OF DEATH

How do you estimate time of death? Contrary to those cool shows, current methods are pretty
inaccurate. Usually, it is best determined from when the person in question was last seen alive.
But there are a few science-based methods to estimate approximate time of death. Livor Mortis
(lividity) is the red-purple skin discoloration from blood pooling to dependent areas by gravity.
It usually appears about forty-five minutes after death, but if the body is moved, the lividity will
shift around. Eight to twelve hours after death, lividity becomes fixed, meaning it will not move if
the body is moved. Presence of fixed or unfixed lividity is helpful in estimating time of death.
Rigor Mortis is stiffening of the muscles after death, caused by a chemical process. All of the
muscles are involved, including muscles in the walls of the penis. There can even be expulsion
of semen post mortem. Rigor mortis begins just after death and peaks at eight to twelve hours,
then dissipates after about thirty hours. Cool.

FIREARM INJURIES

A wealth of information can be gleaned from the entrance wound, the projectile itself and the
crime scene when firearms are involved. Investigators can estimate the distance from the gun to
the target. Yes, they really can. When a gun is fired, high-pressure hot gas, soot and gunpowder
leave the barrel (not to mention a slug or shotgun pellets). This will leave a characteristic
distribution of soot and gunpowder—called stippling—on the target (the unfortunate victim’s
skin or clothing). At contact range, there may be a muzzle imprint as the skin is seared by intense
heat. Soot and gunpowder are deposited under the skin. In contact wounds to the head, gasses
pushed under the skin make star-shaped tears, a so-called stellate entrance wound.
At near-contact range (about two or three feet), soot and gunpowder are seen over a small
surface area distribution. Intermediate range wounds show gunpowder stippling but no soot.
Distance range entrance wounds have no stippling at all and only the entrance wound itself.
Distance range can only be estimated to be “greater than several feet.” That is pretty non-
specific, if you ask me.
Rifles and handguns expel a single slug, causing one wound per round. With shotguns (well-
known to all you deer hunters out there) many pellets are expelled as a big blob, and the pellets
spread out as they travel. So with a shotgun, there is an additional way to tell firing distance. Up
to three feet, the wound is circular, as all the pellets are still fairly close together. At three to four
feet, there is a larger entrance wound with a scalloped edge. At greater than four feet, you start
to see separate pellet wounds. Yummy.
High Velocity rifles (or assault rifles) cause devastating internal injuries not because the bullet
is any larger, but because it travels much faster. Get ready for math: Kinetic Energy =MV2 or
Kinetic Energy equals mass times the velocity squared. Got it? There will be a quiz at the end
of this column.
Suicidal gunshot wounds are most often sustained in the head and chest. They are typically
at contact or near contact range. Blowback (blood spatter) and soot may be on the hand of the
victim. Neat-O.

SUGGESTED READING

If you are really interested in learning about this stuff in more complete detail, check out Spitz
and Fisher’s Medicolegal Investigation of Death, or you can borrow mine.

COMPLETELY UNRELATED

I live in the Marigny and adore it. If you are ever in the neighborhood, there is a restaurant I
highly recommend. Maybe you are out on Frenchmen Street on Halloween and need some
nutrition. Head over to Café Bamboo, right below the Dragon’s Den. Café Bamboo is probably
the only vegetarian restaurant in the city [and there’s a coupon in this issue!]. It serves a mix
of ethnic and regional food. Try the vindaloo, green curry or Caribbean tofu wrap. Homicide
investigation is hungry work. Happy Halloween.

12_antigravity: your new orleans music and culture alternative

COLUMNS LOCAL MUSIC
“SLINGSHOTS, ANYONE?”
by derek zimmer [email protected]
LIVING IN A GLASS (WARE)HOUSE

W
hat better way to start off a recent return from my month-long hiatus on the West and debris, one just has to adapt to the environment. So, what does an “underage” kid do at
Coast than with a house show deep in the recesses of Uptown’s Magazine Street. A the Saint while waiting for a punk band to set up? We play Street Fighter, of course! What
couple ambassadors of the Iron Rail Book Collective—it would appear, at least— else?! Friends kept me company off and on, and in between I pondered certain questions. Like,
attempted to upstage me on this very punk show Candice of No More Fiction booked at Darin for example—What was stopping me from walking over to that stupid Deer Hunting USA
and Nathan’s house (former venue of Bryan Funck’s infamous weekly Tacos Night) by hauling machine and putting an “Out of Order” sign on its screen? Propriety? Lack of tape??? Well,
out the distro themselves. Granted, with the collective’s own microcosmic “financial crisis,” I there’s always Street Fighter, I guess...
was conflicted as to whether to feel mildly affronted or exceedingly glad that others besides myself Having lost my match to Ryu and already past the 1am mark, Drunken Boat finally took
were seizing the tabling reins. But such boldness begs the question: Could it be, in my absence, the floor. And when they did, I came as close to “dancing” as my frail body is capable—
these young Padawans were attempting to yank the rug from under me? Or were they actually— awkwardly shuffling my legs and convulsively shaking my head as those dirty East-Bay-
um—doing my bidding?! Know the answer I do not. However, recalling the Jedi Master’s famous inspired melodies rang out into the night. Three long years had I lamented missing Drunken
aphorism about attachment leading to the Dark Side, I tried to forgo my irrationality and just Boat at the legendary Coach Haus. And unlike that Rimbaud poem I never really liked, the
enjoy the show with my newfound mobility. But needless to say—like a knight devoid of his Portland band whose name derives from it definitely did not disappoint!
noble steed—without my usual punk-rock sentry post I felt lost and directionless, aimlessly So of course I caught them the second night in a row at the Buzzard’s Nest—which leads
skulking about the porch and backyard. Like the typical New Orleans hipster without the me, I believe, to the focal point of this entire article. This show went off without much incident.
compulsory alcoholic beverage to “break the ice” on any given social interaction, the lack of my Rachel baked this incredible cake for Candice’s birthday. Drunken Boat played an awesome
Iron Rail tabling crutch left me feeling only confused and disoriented! set, yet again. Their roadie bought a feminist book from me—the only sale of the night. But
Oftentimes I relish straying from my comfort zone, but it was additionally distressing to what most interested me took place after the show.
find myself feeling out of place at a DIY house show. For the first time, I was forced to With the crowd dissipating toward the afterparty at (ironically enough) The Saint, as I
face feeling like a foreigner in my own community. Wow. Alliteration, anyone? How about prepared to head home on my bike, a gentleman I’d seen skating the half-pipe earlier in the
this: Audaciously and anatomically alternating amongst alienation, awkwardness and apathy. night named Matt approached me.
Go ahead and say that one three times fast. Anyway... I spent the better part of the evening “I’ve wanted to talk to you for a while about something that’s been bothering me,” he began.
sulking on the front porch, trying to make sense of the situation and attempting to acclimate “In one of your articles, I feel like you said some belittling things toward certain members of our
myself to the sudden culture shock of the Big Sleazy after being away so long. It just felt like scene you call ‘crust punks’...” The piece he spoke of did contain some admittedly distasteful jokes
something in me broke, like one of Azkaban’s describing how, like the Führer of the Third
Dementors had sucked all the optimism and
cheerfulness from my soul. Acquaintances
would approach me, and I tried not to seem
“Somebody please tell me: Reich, I wished to institute the state-sanctioned
obliteration of all scumfucks. Matt went on: “I
just felt like your attitude toward some of those
stand-offish or determined to break the
clearly celebratory mood. Locals Ixnay and
Why does this town feel like people was perpetuating hate. And it bummed
me out to hear that coming from someone in
Necro Hippies rocked the house, but in my
sullen state of mind I couldn’t even bear to
stand inside the sweltering living room to
a perpetual afterparty?” our scene.”
I first genuinely apologized that he had
taken offense to my oftentimes mean-spirited
watch them. There’s this scene in the movie Ferris Bueller’s Day Off, I’m sure you’ve seen it... jabs directed at perhaps—those he perceived as—some of his friends. There is certainly some
Oh, you mean you haven’t? Gosh. Well, it’s this movie from the ’80s, a real classic... Anyway, dichotomy between who I am and what I write, and with the “voice” on the page I know I can
there’s this scene where Cameron (Alan Ruck) is sitting in his car deliberating whether or get carried away with liberties I take for the sake of sensationalizing a story—bold statements
not to drive to Ferris’ house. Unsure of what to do, in this comedic scene, he screams and which sometimes come, unfortunately, at others’ expense. I explained that what I’d intended to
curses and pounds the upholstery like a maniac. Well, at one critical moment in the night, critique was actually—though, at times, unfairly using the “crust punk” as the scapegoat and
experiencing my own mild panic attack, I stood in front of my bike, painfully debating whether embodiment of these traits—the alcoholic hedonism and apathy that plagues the city of New
or not I should unlock it from the fence and just pedal home. In the end, I decided to stick it Orleans, which I do firmly believe to be the antitheses of radical community organization (or
out and just go into the house for the last band. meaningful relationships in general).
And, boy, am I glad I did! The headlining band was an Olympia act by the name of Gun “Of course,” I confessed, “it’s always easier to criticize others rather than yourself. And
Outfit, who play really twangy punk. I can’t really describe the magic that transpired in those quite honestly, I’ve come to realize that a lot of my condemnation of certain characteristics
twenty minutes. Suffice to say, like indie sorcerers conjuring a joyful spirit dance, with every of the ‘crusty’ are hang-ups that I see in myself.” Fact. If you need proof, Ethan Clark could
chord struck and each incantation recited my mood soared, until by the end of the set—soaked attest to the fact that all I had on my person was a little more than a dollar—in change!—to
in sweat and giddy with band crush—I felt nearly cured of my prior cynicism. donate to the touring band. I mean, c’mon—that’s got “scumfuck” written all over it. After all,
The show had nearly redeemed itself, and I was in much better spirits. After personally I recognize these bands need gas money. Drunken Boat needs to get back to Portland. And
sharing with Gun Outfit the hormonal 180 their set had evoked and apologizing to a few Bywater natives in Why Are We Building Such a Big Ship deserve something after traveling
others for my prior taciturn disposition, together with some of my persuading friends, I even such a long journey from home all the way to New Orleans’ Garden District! I truly did feel
walked to the dance party going down in the much-talked-about “synagogue” on Jackson bad about my detrimental impact on the punk economy, OK?!
Street. Somebody please tell me: Why does this town feel like a perpetual afterparty? I didn’t This fellow Matt and I spoke a while longer before thanking each other for the conversation
actually want to go out after the show, but I figured I’d at least check it out. It’s like NOLA’s and going our separate ways—a positive exchange, I felt, overall. I followed Axl Rose’s
most teetotaling partygoer (and my personal life mentor) DJ Brice Nice wisely told me later advice and really took to heart my fellow punk’s constructive criticism; after all, I take for
that night—the alternative to going out entails sitting at home. Sitting at home, sobbing granted that a lot of my tongue-and-cheek “humor” may not always be approached with a
yourself to sleep in your dingy Mid-City warehouse. Just like that Gorilla Biscuits song. grain of salt. It’s obvious, all things considered, how one could interpret some of—er, maybe
Arriving at this synagogue known as the Buzzard’s Nest a few blocks away, I definitely a lot of?—my remarks as vicious attacks and/or overbearing self-righteousness. Or how my
felt—in the words of Walter from The Big Lebowski—“out of my element.” Skaters shredded objective audience could read into my allusions to drug paraphernalia not as complete satire
the gnar on a constructed half-pipe, a few agile souls skipped jump rope and the rest just of its absurdity but instead as a glorification of my indulgence in illicit substances—in which
danced to tunes the DJs queued up. See, here’s the thing: I don’t drink, and I don’t really case they would, undoubtedly, be correcto mundo! So just disregard the last part of what I said.
like shaking my booty a whole lot. And sometimes it just feels like the social sphere of New But this exchange prompted me to reflect on how I could better utilize the platform I have
Orleans outside of these two things is rather small. Then other times I think maybe I’m just access to, of how to make it not just entertaining but also meaningful. Communication really
selfish and want every one to conform to my idea of what “fun” is—like my militant insistence is the primary goal (and achievement, as far as I can tell) of what I am doing, and any and all
that every band play either female-fronted ’90s-style pop or moshy ’90s-style hardcore. You correspondence means a lot.
know, that reminds me—anarcho-fascism gets such a bad rap, I gotta say. I mean, what is so So to those who have shared their thoughts on my writing—thank you. I encourage anyone
wrong with trying to impose my own biased, arbitrary worldview on other people anyway, who feels so inclined to engage in dialogue with me. Forever self-critical. Forever straight
huh?! Don’t these ungrateful inbreds realize it’s for their own good?! Yet, despite my general edge. With that said, I offer the first collection of memorable quotes I’ve heard from some of
uptightness and disdain for anything remotely fun, here I was on this particular Saturday my “readership”...
night—the Jewish day of rest, ironically enough...Three thousand years of beautiful tradition, “Tell your friend I said Thank you.” —Chuck “Scumfuck” to Andy of Thou/We Need To Talk
from Moses to Sandy Koufax, leading me to this moment in time—attending a raging dance “He kicked you?!” —my mom, horrified by my written accounts
party in a reclaimed synagogue! Shomer fucking shabbos, indeed. “I know you like to get in everywhere for free...” —Eric Martinez
Skip ahead to a couple weeks later, when fate would find me once again visiting the Buzzard’s “I like how you lambasted Thou.” —Jackson Blalock
Nest to table the show of another Northwest pop-punk band—Drunken Boat! Feeling such “We read what you wrote about my husband; we all loved it.” —lady at Saturn Bar
renewed interest in social engagement, I’d even gone out to distro Drunken Boat’s show at “We really liked that article you wrote about getting in here for free, but you’re gonna
The Saint the night before—one I hadn’t planned on attending because—well—because I have to pay.” —scathing security guard at One Eyed Jacks, right before I got into the show
hate bars, but which I ended up really enjoying! Well, I didn’t particularly enjoy all four hours legitimately on the guest list, and who then refused to provide me with a table
leading up to when they played. After all, like the foolish little faun that I doubtless am, I’d “You paying the cover or what? I’m not gonna let you in for free so you can brag about it...
arrived at The Saint at 10pm, which was the show’s “listed time.” Psshh. OK, now every one I read your little ‘paper’..” —show promoter Matt “Muscle”
point and laugh at this kid! Ha-ha, Derek! You biked out to the show four hours early—joke’s “Next time it’ll be five...” —Matt “Muscle” again, after I kicked down a compulsory dollar
on you! In these situations, like the urban songbirds who build their nests with cigarette butts for entry

antigravitymagazine.com_ 13
 COLUMNS SPORTS
HOMEFIELD
by leo mcgovern
ADVANTAGE [email protected]

A LOOK BACK AT SEPTEMBER

T
erms for the Saints offense you won’t see in this column—“high-powered,”
“high octane,” “virile,”…well, that last one isn’t an overused media adjective,
but you get the idea. The Saints offense is good—great, even, and if you
didn’t believe it before Week 3, there was no argument against it after the Saints
balanced their offense towards the running game against the Bills. Winning a game
in less-than-perfect weather conditions has been the albatross around this team’s
neck since the NFC Championship game in Chicago. Even though the conditions
in the Bills game weren’t horrible (just cool with some wind and not a snowy, frozen
field), Sean Payton proved his offense isn’t all finesse when his play-calling netted
over 220 rushing yards. As good as the offense is, it’s whether or not the Saints can
replicate that type of rushing game when it counts in January that will determine
how far this team ultimately goes.
Until Mike Bell’s injury in the Eagles game, I was beginning to think we’d seen
the last of Pierre Thomas as a starting running back. The PT we saw against the
Bills, in his first extended action of the season, was the hard-running, shifty back I
thought he’d be going into training camp. With Lynell Hamilton looking good, it’s
absolutely nutty to think the Saints have four capable running backs on their roster
(hey, even Reggie Bush looked good with his interior running in the Bills game).
It’s been a fun start to the 2009 season, hasn’t it? Above all else, you hope the
Saints will at least be entertaining, and we’ve gotten that in spades through the first
three weeks of the season. Our defense is better, though we haven’t met a great
team yet. Personally, I won’t feel good about our defense until we have a 14-point
lead and don’t think it could be lost in the blink of an eye. Until then, I’m satisfied
knowing it’s a better and more exciting defense than we’ve had in three years.
For all the poo-pooing the Saints D received after a slightly lackluster performance
against Detroit in Week 1, I stuck with the squad on my fantasy team in Week 2,
and they rewarded me with a fat 17 points, which ultimately didn’t keep me from
losing but is a fine score in fantasy, even if Darren Sharper’s interception return for
a touchdown was in garbage time.
A couple other bright spots in our defense includes the play of cornerbacks Jabari
Greer and Tracy Porter, who remind me of Fred Thomas’ salad days, where he’d
take the legs out from underneath unsuspecting receivers of the hitch pass, and
Scott Shanle emerging from the status of fan-punching bag and becoming almost
overrated. The way all the pundits (me included) gloated after Shanle’s second
half interception in the Eagles game was ridiculous, but the linebacker-that-could
deserves to be stuck up for. We haven’t seen our defense’s best game yet, and that’s
encouraging.
One big mention deserves to go to Malcolm Jenkins, who’s been everything
you’d like to see out of a first round pick, even if he’s not a member of our starting
defense. His special teams play has been awesome, and his strip on a punt return in
the Bills game might be the nicest special teams play since Steve Gleason’s blocked
punt. We hope Jenkins becomes a defensive mainstay, but in the meantime it’s cool
to watch his enthusiasm on special teams.

SAY THANKS

You’ve heard enough about Drew Brees and how he’s one of the best (if not no.1)
quarterbacks in the NFL. It’s getting to the point where we expect Brees to be
brilliant in every game (and there’s no reason not to—we hope the defense will
garner the same expectations as the season moves along). I want to take just a
second to reflect on the quarterback history in New Orleans. Remember the Aaron
Brooks days? How about Billy Joes Hobert and Tolliver? Danny Wuerffel,
anybody? Eight weeks of Kerry “Vodka” Collins? How about Doug Nussmeier?
Not counting a few cameos by Jake Delhomme, the last QB to even be conscious
in the Superdome was Jim Everett. We should be kneeling before the football gods
for delivering such a QB boon onto us, so every so often I’ll make us take a step
back for appreciation’s sake. Thanks, Drew. If you were even half-way decent we’d
still love you, but you’ve reached Honorary New Orleanian status in a way we
haven’t seen since Archie.

LOOKING FORWARD

The best thing about this season, so far, is that our opportunities are still in front
of it. We’re not dodging stats like, “no 0-4 team has made the playoffs” or anything
like that. In fact, we’ve got some weird stats going for us—since 1998 at least one
team that started the season 2-0 has played in the Super Bowl. Not a bad line for
us to ponder for awhile. If the defense continues to get better (remember, Gregg
Williams hasn’t even used half his tricks as far as formations and blitzes go yet)
and the offense can keep a semblance of its early season production going, this team
should be playing some playoff football.

14_antigravity: your new orleans music and culture alternative

antigravitymagazine.com_17
 FEATURE MUSIC

A SECOND HOME: PYGMY LUSH

(QUIETLY) RETURNS TO NEW ORLEANS
interview and photos by dan fox

P
ygmy Lush is the best thing in music right now. They’ve would see the kids and interact with them. Later on, they asked A lot of people describe Pygmy Lush’s sound as “grunge” but I
also become really good friends of mine, having passed me if I would go into the room because they felt like I was good have issues with that because that term is a complete fabrication
through New Orleans so many times throughout the years, with the kids and they needed help, so I got a promotion, got some of the media. How do you feel about that?
every time as a band that is more evolved and amazing than more money. And ever since then I cook in the morning, then come It’s okay by me because I’m a music head, so we’ll work on songs
the last one. Well, there goes journalistic integrity and objectivity for about one o’clock I go into the room and act as an assistant teacher and I’ll try to pull out what it reminds me of or how it sounds and
you. But it’s just a dumb fact: Pygmy Lush is a band that can instantly for five-year-olds and up. sometimes the word dirty or grungy will come up. I don’t mind
convert anyone, from my mom to sheltered graduate students to those kinds of words being used to describe a band if it makes sense.
crusty anarcho-punks. Their full-volume rock n’ roll set, which Do you ever get to use your musical talents at the preschool? But like anything, when the mainstream co-opts an idea or word
explodes with every chord, drum hit and tortured howl, is pretty They’ve always wanted me to; I told them they’d have to pay me! and applies it to everything new that they don’t understand, it is
amazing to witness; but it’s their alter-ego as a mellow and haunting It would be fun to do, but also kind of embarrassing. I’ve definitely disheartening because it takes away from the music. That scene,
acoustic band that truly shines above everything else out there. played them good music. But once I played them Mount Hope that time in music—we were on the cusp of it, growing up with
Calling Sterling, Virginia their home, which falls in the outer-most [Pygmy Lush’s second album] after it had just been mastered and it, so to me it’s really important. I hear grunge and that’s the word
orbit of Washington D.C.—and in a none-too-subtle twist of irony I wanted to hear how it sounded. I thought, “Nobody’s heard my I remember in high school, so it feels close to home but I don’t
shares all the same digits as our beloved 504 area code (Sterling is band; I’m going to play this. It’s quiet; there’s no cuss words.” As necessarily think it means anything these days, not as much as it
540)—Pygmy Lush has the unique ability to draw from their country soon as I popped it on, during the first few minutes of “Asphalt” this did ten, fifteen years ago.
roots while soaking in the counter-culture that DC is so famous for, little girl of mine said “What is this? It’s doomy and depressing.”
as if Kurt Cobain had been a Hardy Boy. ANTIGRAVITY caught up She said, “Turn this off. This is awful.” I thought, “Well, you kids When do you decide which set you’re going to play, whether it’s
with guitarist Mike Taylor over the phone just as they were preparing don’t like good music!” going to be loud or quiet? Is it a day-of kind of decision or does
to play a show with Aimee Argote, of the equally amazing Des Ark, the audience influence that decision?
at their farmhouse in nearby Ashburn. They were commemorating They just haven’t had the chance to get all messed up and My birthday show in New Orleans, for instance, we were confused
the arrival of Autumn. Promoting the event on their Myspace page, heartbroken yet. about what we wanted to do because it was my thirtieth birthday
Pygmy Lush wrote: “Mike [Widman, drums, guitar] just spent the They like Madonna. Recently I’ve been throwing on the best of and I wanted to play loud. I remember people hearing that we were
past week building a nice little stage/deck out in the going to play loud and they came to see us quiet;
woods for us to enjoy. We’ll have a bonfire and be when they heard we were playing loud, a handful
grilling a whole bunch of vegetables fresh from our of them left. And then we ended up playing quiet
garden. The reservoir is also just down at the end of as a last minute decision. It’s actually super tough.
the street for a nice cool swim... Please come with a That’s one of the hardest things to do with this band
friendly, positive attitude and kindly respect our home is to try to beat the noise when we’re trying to play
and each other. Let’s enjoy each other’s company quiet. We actually did that just recently. We started
under the new harvest moon and be at peace.” Doesn’t off with fifteen minutes of noise, hoping to clear the
this sound like a band you would want to see? And room of everybody that was talking. And there was
even if you are turned off by such sincere and eternal nobody left to see us!
sentiment, don’t worry. Their music will appeal to
your jaded heart, too. Are you ready to go either way at any moment?
On this tour coming up, that one’s going to be all
ANTIGRAVITY: So, what is Sterling like, anyway? quiet. We know we’re just taking the quiet equipment
Mike Taylor: Shit... It’s suburbia. It’s just a bunch of but on the last tour we brought both and decided the
us. Sterling is home of the Doppler radar and AOL; day of the show.
and nobody’s from Northern Virginia. They’re all from
somewhere else, which makes it a transient city. Tell me about your collaboration with Des Ark.
You’re going to be performing some songs together
But you guys are holding it down. on this tour?
We’ve been holding it down for about fifteen years. Yeah, Aimee just came up last night and we practiced
I’ve been in Sterling since ’85 and the rest of us have for about six or seven hours. We have one nailed
been here most of our lives or our whole lives. It’s that we’re going to try and play today and then we’ll
home, for better or worse. work on one of her new songs and hopefully we’ll
collaborate and write some more songs together.
What keeps you in Sterling?
The music really keeps us here. Dave [Krepinevich, That’s a potent combination.
bass] left for a while and did his own thing. He did No kidding. She’s playing circles around us, that’s
an excellent hip-hop band called Coaxial. I’m just for sure. She’s extremely talented; it’s not even
throwing that out there because they rule. funny. It’s great to work with her. It’s much more
comfortable than I was expecting it to be. It seemed
Since you’re all such good, old friends and even family like we hit it off. Johnny’s down there now working
members, I imagine you playing music all day, every on a tune with her. She’s incredible by herself and
day. What’s a day in the life of Pygmy Lush? being able to play with her is an honor for us because
A typical day in the life of Pygmy Lush is Mike everyone’s really into what she does.
Widman going to work, framing walls or decks, Dave
Krepinevich going to the pie shop to deliver pies... I You getting sick of New Orleans yet?
go to school and cook chicken nuggets for kids and Fuck no. Does the pope shit in the woods?
then they scream at me later on in the afternoon.
Johnny Ward [guitar, drums] walks dogs or is out on What do you like about New Orleans; what keeps
the farm picking pumpkins and beans. My brother, you coming back?
Chris [Taylor, vocals, guitar], works at the pie shop, With New Orleans, ever since that first show we played
so a day in the life of Pygmy Lush is work up until the there ages ago with Pg. 99, everyone’s been awesome
weekends, and then it’s like a family. We hang, we cook, we smoke Michael Jackson. I’ve played some Ramones and Replacements since and I see the same people every time I’ve been there. At times,
weed, we drink beer and write music. and Talking Heads. I’ve also played some Cool Jazz and some I have just as close friends in New Orleans as here. The people are
Boss. I’ll play some stuff for them and they’ll dig it. Sometimes great; I like that we have friends that don’t play in bands there. They
In that order? they’ll make fun of it. don’t have to be in a band for us to meet them and know them and
Actually, the order is: we get off work, meet up at our house, smoke strike up all this friendly conversation. Speaking for myself, the food,
weed, talk for an hour, mosey out into the shed [to practice], smoke Will you list for me your collection of ’90’s alt-band t-shirts? people, atmosphere, architecture, the vibe—it’s incredible. When
more weed, then eat food. Sometimes a few of us will get together Because every time I see you, you have a different one on. Pizza [Mike’s other band] was there, we went on the ghost tour and
during the week and work on tunes. Okay, I guess I have a Jesus Lizard T-shirt, Dinosaur Jr., Sonic spent twenty bucks for that. Let me tell you, I won’t do that again!
Youth, Nirvana... Lubricated Goat... I don’t have anything classic
Backing up a bit, did you say you cook lunch at a school? Are you like Cracker or Gin Blossoms, nothing like that. I have an REM Pygmy Lush will be performing October 29th at the Sidearm Gallery
a lunch lady? shirt: that’s from the Monster tour. You know, the classics. Grunge. (1122 St. Roch Avenue) with Des Ark, Brooklyn’s Ghastly City Sleep
Well, I’ve been working at a preschool for eight years. For the first All of us are roughly the same age and we all grew up listening to that and Why Are We Building Such A Big Ship? For more information, go
five and a half, I cooked food. I was a cook in the morning and I stuff so there’s a little bit of that in all of our closets, somewhere. to myspace.com/pygmylush.

16_antigravity: your new orleans music and culture alternative

FEATURE FILM

ALL HANDS ON DECK WITH DIRECTOR

MIKE D. KENNEDY
by dan fox

M
ike Kennedy does a lot of things, but “chill” What’s your least favorite? As someone working in the, uh, “professional” side of
is not one of them. A simple, laid back The best part of making movies is having an audience. the film industry, what are some things you take with
pool party at his place, for example, will You can write a song or draw a picture for yourself, but you in your own projects, and what are some things you
quickly turn into a zip-lining, scuba diving, movies are nothing without an audience. My least favorite are happy to leave behind?
trampolining, underwater photographing extravaganza, part would be the way the industry has changed. Just like I’m all about camera cranes. When I was at the New
with a trip up his own indoor rock-climbing wall for the music business, the film business is in flux. I’ve been York Film Academy I made a short, “Survival the Illest,”
an encore. He applies the same frenetic energy to his blessed with tons of work—and people will continue to that played in festivals all over the country. The camera
filmmaking, so it’s no surprise moved in maybe one shot—
that the New Orleans Film handheld. Moving the camera
Festival is screening two of his with dollies and cranes is what
most well-known music videos, separates student films from real
Ballzack’s “Rainbow in Marrero” productions. If you want to keep
and MC Odoms’ “Keeping Up people interested, you have to
With the Jetsons.” Featuring make it interesting and dynamic.
everything from a tricked-out The worst part of the professional
Pho Tau Bay parking lot to green- film business is the hours. I just
screened galaxies with mocha- worked for six months on a TV
sipping aliens, every frame of a show with sixty-five hours every
Kennedy video is pure eye-candy. week (and that was a relaxed
ANTIGRAVITY caught up schedule). Most movies have
with the busiest man in NOLA disgustingly long hours because,
showbiz to get his thoughts on as always, producers want the
the state of the film industry and most for their money. By going
what it takes to make people pay overtime, they’re eliminating
attention. more shoot days, which would
be more expensive.
ANTIGRAVITY: Your videos
always look so slick. How do So is a MDK set more relaxed?
you finance all of your projects? Describe a typical day on a
Mike Kennedy: The videos look shoot.
slick because I’ve been working The shoot might be more relaxed
in the film business since 1999. because everyone will be cool,
Film school is fun, but mostly but I am definitely not relaxed.
I learned on the set of real Anyone who knows me would
movies. I also surround myself not describe me as “laid-back,”
with talented professionals like so I get really nervous and
director of photography Nate excited for my own shoots. We
Tape, production designer Twig don’t have the kind of money for
Leveque, FX-makeup artist re-shoots, so coordinating a crew,
Jessica Hyde and great performers on-screen talent, plus a location
like Ballzack, Odoms, and The on the same day is already hectic.
Buttons. Film is a collaborative It’s not like I sit in a director’s
effort—you can’t make a movie chair and just bark at people.
on your own. Well, you can, but I have to set up gear, deal with
it’d probably blow. Financing locations, pre-production and
comes from the band and/or making everything run smoothly.
label. Spending money on a So I’m definitely worked up for
video may seem like a frivolous my shoots, but we usually wrap
thing to artists, but when I go to in ten hours or less so that’s the
a Ballzack show and everyone good part.
knows the lyrics to “Rainbow
in Marrero” before the album What’s next? When does the
drops, it shows that the video and Mike Kennedy feature come
exposure has reached the audience. Plus, I give the artists make movies, videos and commercials—but they will be out?
a huge amount of production value for very little cost. different because everything is about money. This is a There are two videos we did for the Park The Van record
We try to do as much as we can with the least amount of blessing and a curse for me because everyone wants the label, for Generationals and the High Strung, respectively.
money. Making a great video with a huge budget is easy; I most for what they spend. But sadly, the days of the mega- No word on when these will ever be released. Besides that,
like making great videos with great ideas. budget dinosaurs are pretty much gone. I’ve been working on my NOadventure.com site, which
has developed a following in the city. My bombshelter
How do you put together a shoot like the Buttons What do you mean by that? Didn’t Benjamin Button just documentary, “Buried Alive,” [about the abandoned
video? How do you get Skate Country for a location, shoot here and spend like 200 million dollars? civil defense shelter in Lakeview] just played at Docufest
for example, then coordinate all those people and their Sure it did (I worked on it), but music videos and Atlanta where it was the audience favorite. As for a big
costumes? commercials have shrunk. Music videos used to cost two- movie? This is top secret—eventually, there may be a
Again, the Buttons shoot was a collaborative effort to-three hundred grand. Now, big artists make twenty feature, but I don’t want to make one without the proper
between myself, the Buttons and Nate Tape. We even thousand-dollar videos. Commercials are the same way. funding. Lil’ Doogie needs at least ten million.
had interns (thanks Michelle and Scott!). Rami (Ballzack) You’ll see a huge commercial, but it’ll be for McDonald’s,
actually acted as a locations agent on that one and set up Coke and a Disney Movie—all in the same commercial. “Rainbow in Marrero” and “Keeping Up With the Jetsons”
the deal with Skate Country. Plus, The Buttons had tons I’ve also seen ones for the Olympics and Visa, or Rhapsody will be playing at 8PM, October 11th at the Contemporary
of amazing, dedicated friends that came in all these weird and a U2 album, Subway and United Way or Budweiser Arts Center as part of the New Orleans Film Festival. For
costumes and stayed for hours. and the NFL. Big companies fuse together to shoulder more information and to view Mike Kennedy’s videos (and
advertising budgets. everything else that’s going on in that head of his), go to
What’s your favorite part of the filmmaking process? crushedmedia.com and noadventure.com.

antigravitymagazine.com_ 17
 FEATURE CULTURE

WE ALL WORK FOR THE DEVIL: MYTH, POLITICS

AND CAJUNS COLLIDE IN “LOUP GAROU”
by sara pic photo by zack smith

W
hat does a loup garou, that mythological Cajun Tell me more about Loup Garou, as it’s your newest work and is hundred egrets. Maybe you just need to sit there and watch that beauty
werewolf, have to do with the loss of Louisiana’s debuting in New Orleans in October. rather than roll over the site. Flexibility is huge.
coast? For Mondo Bizarro and ArtSpot Productions, Kathy Randels from ArtSpot Productions, which is co-
that answer is obvious: as we lose our wetlands, producing Loup Garou, and I started working on this piece last Is the piece explicitly about the wetlands or is there something
we also risk losing Louisiana’s unique culture, which include the December. A loup garou is a Cajun werewolf. Kathy and I were larger, less defined or unresolved also going on?
stories of the loup garou and so much more. ANTIGRAVITY sat concerned about the cultural traditions of Louisiana as the wetlands This guy, who you’re not sure what he’s done, shows up at a monastery,
down with lead actor and Mondo Bizarro co-creator Nick Slie (who disappear. My grandfather was a third-generation French-speaking coming down from being a werewolf. The piece is told in a twenty-
was safely not in werewolf mode), to talk about collaborative art, Cajun man. I always heard about the loup garou as the other, the eight-day lunar cycle and travels through healthy cypress swaps, to the
art and social justice and the beast inside all of us. mysterious, as in, “The loup garou is gonna get you.” Then I met bars of New Orleans and on out to the Gulf. When we’ve toured with
Moose Jackson, who I think is the best poet in New Orleans, and the piece, we realized that everyone has this question: “Where is my
ANTIGRAVITY: We’ve documented you guys quite a bit in who has a lifelong obsession with werewolves. And it all just came home and where is it going?” Our home, Louisiana, is one of the most
AG, but for those readers who still don’t know, tell me about together, as we were all concerned about our coast, how much complicated places in the world. We show the side of a man who is
Mondo Bizarro. land we are losing and how vulnerable we are. Moose is writing also an animal, a beast. People don’t realize how much that animal is
Nick Slie: This is our seventh year of work here in New Orleans. the text for the show, Kathy is directing and I am playing the loup in them. But the loup garou is also trying to remember what his home
From the beginning, we have been doing multi-disciplinary garou. The loup garou gave us a doorway to talk about those issues was. People say, “We all went to work for the devil,” when the oil
work. We have three main projects: we produce a festival every other and about Cajun culture. We are playing with this idea of, “What’s companies arrived—and we kind of did—but then you think, what if it
year called The State of The Nation Art and Performance Festival, going on with the animal inside all of us?” And how can the ability was you who went back fifty years and there are no other jobs? Today
co-produced with ArtSpot Productions and M.U.G.A.B.E.E.; to transform help us here in Louisiana? we’re faced with: what happens in twenty years if we can’t live here?
we create one to two original performance works that are rooted If these are “end times,” if we are threatened with the extinction of
here in New Orleans, and then tour them around the country and Loup Garou sounds as though it is very much about the social our culture, what will we do? It’s time to decide now that you have
sometimes internationally; and we also run and operate a number of justice issues you talked about and also about collaboration with to act. Even if it does all disappear, let’s put down one of the greatest
different digital media projects. The one we are doing now is called partners with different backgrounds but similar interests. battles ever, and record this culture and put these stories so deeply in
I Witness Central City, which is a story-mapping project, gathering The Gulf Restoration Network is our community partner and will be our bodies that generations will never forget them.
stories where they happened in Central City and leaving location present at all the shows. Every Friday night we will also have talkbacks,
markers where people can call in on phones and listen to the story about engineering and land loss, about Cajun culture and about art Loup Garou, co-produced by Mondo Bizarro and ArtSpot Productions,
and then we map them digitally. We are probably most known for process. There are also two musicians playing live music. We all work runs from October 8th through the 25th, on Thursdays at sunrise (7 am)
our performance works but we are interested in the intersection of together; everyone is constantly feeding the pot. What each person and Fridays, Saturday and Sundays at sunset (5 pm) in City Park at the
all of the arts and also where art intersects with social justice—art does for the show affects the rest of us and we all want feedback on old East Golf Course, on Filmore near Wisner. $15; $10 artists, students
that is rooted in a particular sense of place, of home. And of course, what we bring. This show is happening at City Park in an abandoned and seniors. Sunday, October 11th showing is “Pay-What-You-Can.”
in our home, you don’t have to look far to find things that are pretty golf course, so the land changes us. We work in the rain. When you’re Free gumbo at Friday showings. Loup Garou will also run during the
fucked up. outside you need to be open to coming to your space and there being a Fringe Fest in November.

18_antigravity: your new orleans music and culture alternative

FEATURE VOODOO ’09

GOGOL BORDELLO TO CELEBRATE

VOODOO & HALLOWEEN NON-STOP
by erin hall

G
ogol Bordello has long been known for meshing together and the fact that I’m here and I listen whole lot. But you’ve seen our shows in New Orleans
their electric live shows and has, over the to jazz and funk and rock and all sorts of different things before, so you know we’ll do as much as we can.
years, brought that unstoppable energy to just sort of opens you up.
a plethora of New Orleans venues. This So you guys are playing on Halloween night. Do you plan on
Halloween, they bring their special brand of fusion punk Recently, a documentary was released about the wearing costumes? Is that something you’ve thought about?
to the Voodoo Music Experience. ANTIGRAVITY band called Gogol Bordello Non-Stop, and it’s actually I think my everyday outfit is a costume. [Laughs] I’ll
called up bassist Tommy T to chat about why the band’s screening at our local arts center the week this issue probably come out in a tuxedo or something. I have no
diversity is their greatest strength and what they’ll be hits stands. What can you tell us about it? idea. If you have any good ideas, I’m down for getting a
wearing this Halloween. It’s some earlier footage of the band before the time that I gift or something like that.
joined in. So you get to see how the band came together,
ANTIGRAVITY: You guys have a pretty strong fan the different versions that existed in the early days and We have a pretty great Halloween scene here. Do you
base in New Orleans. What do you think it is about our backstage and live shows from the earlier times basically. guys plan on going out after the show? Maybe a super
city that embraces your style of music so well? It was good for me to see as well, because I got to learn secret afterparty you want to let me in on?
Tommy T: Well, it’s a city of music, period. People that about the band quite a bit. Well, we usually don’t plan afterparties this early, but you
love great music and that’s basically what we bring. And can be sure there will be an after party. Without question.
people that understand energy and that exchange of You guys are almost as much an art collective as a band,
energy. It’s a perfect match, I think. with all of the members’ side projects in film, graphic Well, in the spirit of the season, here’s a totally fluff
arts, etc. And you’re releasing a solo album next question: what’s your favorite Halloween candy?
Well, we’re sometimes referred to as “America’s month. I also heard about the possibility of you guys Well, I’m not so much into candy, but Johnny Walker
Most European City” and our culture
is a mixed bag of French, Spanish,
Caribbean and African. Gogol is
similarly multi-cultural, seeing as
almost all of the members were born
in other countries. What do you think
that brings to the creative process and
the kind of music you guys choose to
make together?
That’s basically the magic of what we’re
doing, in that we’re all from different
places and are influenced by different
types of music. When you bring people
with diverse musical influences and open-
mindedness and honesty to the same
place and have them create something
together, it’s almost guaranteed that
you’ll get something great. And that’s
what’s been happening.

You’re one of the more recent

additions to the band, having joined in
2006. What do you think your heritage
brought to the band’s sound?
Not necessarily just my Ethiopian
heritage, but also all the stuff I’ve been
influenced by, from the reggae to the
funk to the groove bass kind of music,
which is often Ethiopian in nature. And
the fact that I’m open-minded about
music, you know. I’ve always believed
and will always believe that we should
not have any boundaries or limitations
on how we think. Not just rock music or
jazz music. All good music should have a
space. You should look for what speaks to you at the time. developing a festival called Gypsy Punk Generation. black label on any given night.
And we all are open-minded musicians, so that’s why we Will we be seeing that come to life anytime soon?
keep getting different influences and different ideas from We’re working on it. It’s not there yet because we were I was going to ask what you think your choice of
different places and injecting them into the music. more concerned with recording and touring this past candy says about you as a person, but I think you just
year. But there are definitely plans and we will have answered that for me
What about those influences affected the way you play more to say once we figure out exactly what things will [Laughs] That’s it.
your instrument? be. I can’t really speak too much about it, but we will
Well, my brother is a great bass player as well, so basically definitely keep you posted. Gogol Bordello plays the Voodoo Experience on Saturday,
my first influence was stuff that he really liked, which October 31st. The film Gogol Bordello Non-Stop screens
was the Motown sound. And just that groove-oriented What can we expect the set list to look like for at Zeitgeist from September 25th to October 4th at 9:15pm,
kind of stuff. From there, I sort of developed the reggae Voodoo? Friday—Sunday nights. Tommy T’s solo debut The Prester
thing, which I play on for a long time. I also played with Stuff from the “greatest hits” to some new stuff you’ve John Sessions hits stores October 10th. SideOneDummy
a lot of bands around the community and whatnot, so never heard before. Festivals are a little crazy because records also releases Gogol’s first-ever live DVD/CD, Live
I have that African groove mentality. Just all of those they only give us like an hour, so we can’t really do a From Axis Mundi on October 6th.

antigravitymagazine.com_ 19
 FEATURE VOODOO ’09

THE BINGO! PARLOUR WANTS TO MAKE

EVERYONE A WINNAH AT VOODOO ’09
by david s. white photos by lloyd miller

C
lassifying The New Orleans Bingo! Show into a specific The Parlour is as much an oddity at national
genre of music is difficult. Classifying the assorted music festivals as Bingo! is. As Ron explains, “[At
grab bag of artists under the Bingo! Parlour tent at the other festivals] you don’t have the local music tent,
Voodoo Music Experience is nigh impossible. With necessarily. And even if you did, I think ours is a hell
Bingo!, what started as a goof and a way to spend time with friends of a lot more interesting.”
between deliveries for Fiorella’s restaurant in the French Quarter Still, Ron reflects that he’s not able to get everyone
has developed into a nationally recognized act and, in the last in that he’d like to see or that he’d like the world to
couple of years, has become a must-see experience at New Orleans’ see. “Man, there are so many bands I wish I could get
largest rock festival. Come Halloween weekend, it’s circus time. in here, but you only have seven slots a day. That’s all
One of the first things you see when coming onto the grounds of you got. And it’s still really hard to leave some bands
City Park from the main gate of Voodoo is an odd, multicolored out. That’s awful. I really hate that part.”
circus tent with the giant face of a clown named Ronnie Numbers. This year, with the absence of the Land of Nod
It’s hard to tell if he’s greeting you or about to yell at you to get the stage at Voodoo, it’s even harder to omit bands. The
hell inside, but either way you might feel compelled to see what this Bingo! Parlour is now the only showcase of New
could possibly be all about. When you step in you could be treated Orleans’ non-traditional music scene, something that
to just about anything, from a national act that you grew up with isn’t lost on the organizers of the Bingo! Parlour. “I’m
as a kid or some strange performance that you never could have really going to miss the Land of Nod,” remarked Matt
imagined in a million years. Vaughan-Black, better known as Mr. The Turk. “They
It all began modestly in 2006. Preservation Jazz Hall was had so many kids going through that stage…and we
invited to do a stage at Bonnaroo, the four-day, multi-stage camping don’t have as much time [available] because we have
festival held in Tennessee. But with zero budget for talent and no national acts that we also have to deal with.”
production experience, they could only afford to keep it as an in- Clint expanded on that disappointment, “There’s so
house gig. The only acts that played were the various projects of a many bands in town that I haven’t heard and I regret
handful of all the same musicians: Bingo!, Liquidrone, Noisician that. I really look forward to going out and listening
Coalition and Preservation Hall Brass Band played every day to bands now. I’m really excited that I’ve been turned
for three days straight. However, their success got the attention of on to Sissy Bounce. Quintron turned me on to that.
Steve Rehage, founder of the Voodoo Music Experience, and he I’m very excited that they’re playing our tent. I want
contacted Ron Rona about doing something similar at Voodoo the all my friends to know about that and I want them
following year. to know about us. I think it’s important. I got mad
Rona, The New Orleans Bingo! Show producer who is better respect for anyone that’s working that hard.”
known to everyone else as that monochromatic, foul-mouthed Certainly, the guys behind the Bingo! Parlour have
clown Ronnie Numbers, found himself armed for Voodoo with a been working hard and they’ve out done themselves
small production budget and got to work creating something that this year, with national acts like Jello Biafra and the
would capture everything he loved about New Orleans music, at Guantanamo School of Medicine, Meat Puppets and
the same time showcasing all the crazy things his friends were Squirrel Nut Zippers. But that’s really just a small
doing. That dream was born with the first Bingo! Parlour at the part of what the Bingo! Parlour is all about.
2007 Voodoo. “At the end of the day, the story on the Bingo!
“The Bingo! Parlour concept had been in my head for a long time Parlour is that we’ve been given an opportunity to
before that,” Ron revealed in a recent interview. “I was interested cast a light on the local music scene. The other side
in taking Bingo! outside of the group and creating an umbrella for of Jazz and Blues culture. The underside of New
all these things we were doing. You have whatever Matt (Vaughn- Orleans music, which we compliment with national
Black) does, you have what Clint (Maedgen) does and you have acts. Truth is, a lot of people, regionally, just don’t
what I do…but this was an opportunity to put whatever the fuck know the high caliber of musical acts that exist in
[all that] was into action.” New Orleans,” said Lloyd Miller, backstage manager
“We were always interested in presenting our friends to other of the Bingo! Parlour.
friends. That’s always been a thing, since day one that’s always True to their word, they also feature local favorites
been like a Bingo! thing to do. We still do it. And you know, this like Davis Rogan, Why Are We Building Such A Big
is just a big version of that. Luckily Steve and Voodoo were really Ship?, The Happy Talk Band, Suplecs, Zydepunks,
behind it.” Down, The White Bitch, Quintron and Miss
That first year was a huge success for their non-descript white Pussycat, Ratty Scurvics, Luke Winslow-King,
tent, but Ron and Voodoo knew they could make it bigger. “After Rotary Downs, Fleur de Tease, MC Trachiotomy,
that first year, I thought, ‘let’s get a real circus tent instead of trying R. Scully’s Rough 7, and, of course, The New
to make a tent look like a circus tent,’” Ron said. After a Google Orleans Bingo! Show. This year also features a one-
search, they were able to find a circus family in Florida that rents time reunion of the incredibly popular local rock
out their tents in the off-season. band, The Morning 40 Federation.
After some negotiations, the entire family drove the tent from But what’s a circus with out the freak show? The
Florida to New Orleans to erect it on the grounds of City Park. Bingo! Parlour never fails to deliver the strange,
“We’ve really developed a special relationship with them,” Ron said whether you’re suddenly caught up in the marching
about the Anastasini circus family. “They hung out the whole time stage show known as MarchFourth Marching Band,
and after they saw Bingo! for the first time, Renato (the Anastasini or you’re being assaulted by the weirdo antics of
family patriarch) walked up to me and was like, ‘What circus family The Noisician Coalition (a marching noise band
do you come from?’ and after I told him that I’m not from any circus that invades audiences with instruments as much
family he goes, ‘You’re very good. You should come with us.’” at home in a trash can as played), experiencing the
The Anastasini family will be back this year with the same tent, unique show of Fischerspooner, enjoying the sounds
but this time as part of the extended family that everyone who is of a full New Orleans Gospel Choir from Japan, or
involved with Bingo! eventually becomes a part of. closing the Voodoo Music Experience out with Sissy
And there lies the true goal of Bingo!—to just hang out with Bounce, a genre of rap performed by transvestite and
friends. The tent is an extension of that philosophy, introducing gay artists, such as Katey Red, Big Freedia, and Sissy
old friends to new friends while all having a good time together. Nobby with DJ Papa.
The Bingo! Parlour audience is just more friends that get to share Last, but not least, the Bingo! Parlour is spearheading
in that experience. an attempt at a Guinness Book of World Records
“The whole point is to have a family reunion thing,” Clint title for “World’s Largest Zombie Gathering,” which
Maedgen, frontman for The New Orleans Bingo! Show currently stands at 4,026 (as of August 7, 2009).
acknowledged. “To have all of us be in the same place for three Really, this is what the Bingo! Parlour has done best
days is beautiful, man. I mean, these are my best friends and I don’t for three years—deliver a genre-bending experience of
get to see them as much. It’s a family.” eclectic musical styles and pure, unadulterated fun.
“It’s about throwing the Noisician Coalition in front of people,” Rock n’ roll, metal, punk, marching bands, gospel,
Ron says with pride. “And putting these groups in front of, not only rockabilly swing, art-pop, sissy bounce and whatever
a national audience, but in front of people that don’t even know the hell you could classify The New Orleans Bingo!
that shit is in their front yard. At the end of the day, that’s all I want Show as all in one big, musical circus tent. Truly the
to do, work with my friends and make cool shit.” greatest show on earth.

20_antigravity: your new orleans music and culture alternative

antigravitymagazine.com_21
 FEATURE VOODOO ’09

TIGHT LIKE A RUSTY LAZER: SISSY NOBBY

AND BIG FREEDIA SISSY UP VOODOO ’09
by michael patrick welch photos by aubrey edwards

K
atey Red is New Orleans’ queen of transgendered when Katey came on the scene so flamboyant and full-blown, I’m our outfits are matching, the colors or the same shoes.
bounce rap. But her two most popular spawn, Big like “Hell, I can do this! I’ma just come out too!”
Freedia and Sissy Nobby, are perhaps more well-known And who makes your music?
these days. After years of success at New Orleans’ block So how did you meet Big Freedia? I produce the music you hear when I’m performing. I make the
parties, rap clubs, gay clubs and even Jazz Fest, the duo of Freedia We were on the same record label, Money Rules Entertainment. At beats using Acid Pro. I made a mixtape called Sissy Nobby’s
and Nobby—who will perform with Katey Red at this year’s the time we wasn’t really click-clacking like we are now. Freedia Mixtape, and I am working on an album right now with a label
Voodoo Music Experience—crashed the New York area recently. was holding things down, the hottest thing in New Orleans, and called Z-Group Entertainment. I am working hard to be the first
Their weeklong, six-show tour was booked and navigated by New the record label was showing favoritism to Freedia, and I felt a little gay artist to go national, and I think Z-Group is gonna get me there.
Orleans DJ Rusty Lazer, Jay Pennington, the former drummer for jealous bout it. It was my fault, and Freedia was always just a cool They’ve got me booked in Miami, Atlanta, and I’m going back to
ballad-rock band, A Particularly Vicious Rumor, as well as many person. Then after the flood I called Freedia and said, “I want you New York.
rag-tag Bywater second-line krewes. Unfortunately, and for reasons to guide me, inspire me, I love what you do, and I need you.” After
no one wanted to explain to us, Nobby left New York after the that we just became this like mother-daughter thing. Please tell me about your recent trip to New York.
duo’s first show there and returned to New Orleans, leaving Freedia I love New York. I wanna go back! I would love to stay out there.
and Rusty Lazer to rock several legendary New York venues with When we interviewed Katey Red she complained about the glut The audience response out there was crazy! It was a full white
some of today’s hippest electronic artists, including Spank Rock. of sissy rappers now. Who are the better ones? crowd, in Brooklyn.
While her partners took New York, Sissy Nobby sat down for an Vaco Redux, Shav off the Ave, and of course Calliope Priest. Priest
interview with ANTIGRAVITY at the Bywater BBQ. Several days was the first person I really seen at the gay club live. He’s kinda But you came back early, after only one show—you mind talking
later, we picked Freedia and Rusty Lazer up at the airport for their underground but he really did inspire all of us. about that or?
interview. Um. Family emergency? [Laughs] Family emergency, that’s all I
One reason sissy bounce is so successful is that you all don’t look can say.
SISSY NOBBY: like cookie-cutter rappers. How would you describe your fashion
style? Have you performed out of town much?
ANTIGRAVITY: Katey Red will be joining you and Freedia on My wardrobe, I try to switch it up. One time I might be a little retro Ooh, so many places. I’m playing soon at a club in Houston called
stage at Voodoo. Tell me about your relationship with Katey. boy, then I may feel more feminine and do like a punk—meanin’ the T-Spot—a gay club, of course. Labor Day weekend I performed
Sissy Nobby: Katey Red is really the one who inspired me. I was I might put these dreads up or braid ’em to the side, and do some in Donaldsonville, Louisiana. Before that I was in Mississippi,
gonna rap anyway, but I was gonna closet my image, I guess. Then fitted skinny jeans. On stage, Freedia and I always try to make sure Hammond, Slidell. They be callin’ me to play at the straight clubs.

22_antigravity: your new orleans music and culture alternative

FEATURE VOODOO ’09
But the price that I’m axin’ for they don’t wanna pay. The gay club from New York to Philly. I can’t thank him enough for that, and
was willin’ to make a deal with me so…hear I come! I’m comin’! So you also have a more lyrical rap style you sometimes employ? can’t wait to do it again.
BF: Yes, I rap about life and things I’m trying to accomplish, and
And you perform almost every night in New Orleans, no? things I go through. “I Ain’t Takin No Shit” is more of a straight So Jay, you hooked them up with like, Andrew W.K. and Spank
It’s died down to about four or five nights. But on a weekend I rap: Playa hatin’ motherfuckers always try’na be slick / sending Rock while in New York?
might do ten to fifteen shows? hoes at my tray try’na get a little dick / keep your eyes on these RL: Yeah, Spank Rock made the shows in New York—tripled the
hoes cause they wanna be you / y’see they watch what you wear, audiences. He even chose to perform first and then hand the mic to
Ten or fifteen?! and the way you rock your shoes / and your dos, and your dudes, Freedia and say, “This is who we really came for.”
In one weekend. Like, five Friday, five Saturday. ’Cause we don’t showin nothing but love / when I walk up in the club I get drinks BF: And as soon as he did that the crowd just went crazy. He said
perform just at clubs; we do block parties and school events. and hugs. one of my slogans to introduce me—“You already know!”—and it
DJ Rusty Lazer: And you can tell from that rap, it’s kind of that just flipped the crowd out.
How long are your performances? older style, and that’s the thing in New York—that, I’m the baddest RL: Now Spank Rock wants to do some recordings with Freedia,
Maybe like fifteen minutes. Though, with Rusty Lazer, oh God. motherfucker on the block kinda shit. So they went batshit crazy. exchange some beats. I think during Voodoo they’re going to come
He just go song after song until Freedia and I lookin’ at each other People were coming up to me saying, “That’s that old New York down and we’re going to get some studio time and make something
while we’re performing, like, “More songs?” He have us play like shit! That’s how it used to be here!” interesting happen. And I’m gonna try to get Spank Rock on as part
forty-five minutes. But usually we just do three or two songs. It of Voodoo, or do some kind of show at All-Ways on Halloween
depends on what club I’m at, but if I’m doing a show out of town, So tell me about your relationship with Katey Red. maybe.
I’m also more of a rapper. When it’s in town
in a club, I’m just emceeing it. So, Freedia, when Nobby decided to leave
the New York tour, were you intimidated
What inspires you to write one of the more at the idea of having to do those shows by
lyrical rap songs? yourself?
Life. What I go through. Relationships. BF: No. Of course, it was a bigger challenge.
Even my bounce songs, I try to give them a But we separate all the time anyway. In the
subject, not just say anything. Like my song end if was no biggie at all.
“Consequences,” it’s about a relationship, RL: And in the end it helped people focus
two people, they tryin’ to break them up, on Freedia.
but you can’t break them up, they in love.
When I asked Nobby why she left, she
BIG FREEDIA and DJ evasively laughed and said “Family
RUSTY LAZER emergency.” Why did she leave?
BF: Off the record?
You perform almost every night of
the week. Can you detail your insane Well, I’d prefer the on-the-record
schedule? version.
Big Freedia: I have my regular Saturday BF: Then “family emergency.” [Laughs]
at Club Fabulous, a laid back hip-hop bar RL: For me, I don’t think I was nearly as
where people party, get drunk and dance mad as I was sad, and disappointed. I still
off the music. Monday I used to do Bottom had Freedia there and we killed it. But I was
Line. Tuesdays I do Caesars on the West sad for Nobby, because it was a really big
Bank. Thursday night is Platinum 3000. chance for her.
Friday I’m back at Caesar’s for Big Freedia BF: Yeah, after these New York shows,
Night. Then Sunday I do The Duck Off, people were talking about bringing me to
and also Maison Musique on Frenchmen Philly, to Baltimore, L.A., Australia, so
Street. many people coming up to me offering
me shows. American Apparel clothing
How long are your performances? company saw my show and called me the
BF: Depending on the crowd and what’s next day; they let me go in the store and pick
requested of us, we do about thirty to forty- up everything I wanted, no limit. I tried to
five minutes. Depending on the setting, it change Nobby’s mind about leaving but I
may be fifteen to twenty minutes. Long as couldn’t.
you rock you party it doesn’t matter how RL: We were following her all the way
much time you up there; it could be five to the plane trying to talk to her, trying
minutes, long as you rock it. to get her to come back, letting her know
how important it is that people know they
What was Jazz Fest like for you and can count on you as a performer no matter
Nobby and Katey? You were obviously the what. I mean, I did 4th of July at One Eyed
most alternative act there. Jacks with both of them, and earlier that day
BF: It was so many people who knew us, Freedia had an extreme personal tragedy,
so many supporters in the audience. That the kind that would definitely give you a
particular day they had a lot of high school free pass to get out of your show. But she
children out there, and they like, lost their just got up on stage and went for it.
minds. They were chanting behind us, they BF: Only god helped me do that 4th of July
was dancing. Also a choir I used to sing show, ’cause I was totally out of it. But I
with—and who I still do sing with when it’s do this for my people, who love it just as
reunion time—Gospel Soul Children, they much as me. So even though I was sad on
were singing at the Jazz Fest at the same the 4th of July, I made people happy. And
time as me and they all came over to support that makes me happy, and keeps me alive.
me as well. It was really just everybody I
knew, so it was a blast. Had you ever played in New York before?
BF: Yes, once, and the shows were insane;
I guess the homophobes were all busy the energy levels were very, very high. It was
watching Jimmy Buffet or Dave Matthews something new for Brooklyn, shocking. We
at that time. Jazz Fest must be how all the was putting ’em on something new, teachin’
little kids know about you, since obviously ’em new ways to dance, and showin’ ’em
they don’t go to Caesars. how we get down in New Orleans. People
BF: They also see us at block parties, teenage parties. They might BF: Well, Katey and I been friends for over a decade, before she were coming up to me at all the shows, “Dude, I haven’t seen
have some school event that we go perform at. There’s teen clubs was a rapper. After Katey started rapping in ’99, I became her nothing like this, you really killed it!” They were really surprised,
like The Chat Room, and a few other spots in the East. Some background vocalist. After that were in the clubs 24/7, traveling but they loveded it.
promoters rent a venue for a teen party. Kids love us because we’re all over Louisiana, Texas, different parts of down South, all of it RL: At the Glasslands show in Brooklyn, after the very first song
just the new thing, the new hip-hop, the local music that hold it booked by Katey’s record label, Take Fo’. And maybe like two the screams from the girls were so loud it was painful. I had to put
down for our people and represent them. They’re really excited to years after that I became an independent artist on my own. my hands over my ears; it felt like that footage you see of people
have someone from home who can really hold it down and do what freaking out at old Beatles concert. And even the people there who
they like, and represent what we do here. And how did you hook up with Jay here, DJ Rusty Lazer? were decidedly not going to dance, period, even they were looking at
BF: I was the queen of a second-line club, The VIP Ladies, and I each other, smiling from ear to ear. Just joyful. Freedia really broke
Do you utilize your aforementioned singing talent in your was ridin’ on the back of a cart, and he came up to me. I gave him down the New York bullshit, cut through it for a lot of people.
music? my card and from there we started working together, taking the
BF: In my song I might sing the breakdown, to get it together. Or music in a new direction. He’s given me real connections to real, Big Freedia, and Sissy Nobby perform with Katey Red at the Voodoo
I might just sing the chorus like on my song, “If Your Girl Only genuine people who want to help me. He worked hard on this New Music Experience on Sunday, November 1st. For more information on
Knew,” and a new one I have that’s called “For Your Dick’em York trip for me, non-stop, and every show was successful. He had Big Freedia, go to myspace.com/bigfreedia, and for more information
Baby.” his friends at every show, who opened doors for me all the way on Sissy Nobby, go to myspace.com/sissynobbyy.

antigravitymagazine.com_ 23
 REVIEWS
ARCTIC MONKEYS was, you know, a bit goth. Collapser may very well end up being “the” the rock bases of the songs while the brass arrangements or hazy
HUMBUG recording of Banner Pilot’s career (which itself only dates back a overdubs swirl about. It’s hard to imagine The Beatles’ proto-metal
(DOMINO) couple of years). Key tracks include: “Starting at the End,” “Northern track “Helter Skelter” or reverb-soaked rock like “Revolution” ever
Skyline,” “Farewell to Iron Bastards.” “Northern Skyline” is probably sounding as fierce. The vastly improved sound quality truly shines a
A bout three and a half years ago,
Arctic Monkeys stormed the
musical consciousness, garnering such
the most Jawbreaker-y entry on the album, and it’s a sadly beautiful
piece. “Farewell to Iron Bastards” seems to be the one which I repeat
spotlight on one of the most overlooked aspects of The Beatles, their
musicianship. The true gem of the remasters is Abbey Road, a true
the most on my iPod. “Starting at the End” uses the corner liquor masterpiece even within the context of the biggest band in history’s
intense hype via the world wide web
store as a metaphor for life, although the lyrics are deceptively subtle catalogue. It’s stylistically all over the place and this new mix is the
that their debut release broke the long-
(Banner Pilot isn’t Sublime, thankfully). From the onset of “Central perfect showcase of the album’s immense achievement. From the
standing Beatles record of first-week
Standard,” Collapser’s opening anthem, through the close of “Write breezy sensuality of George Harrison’s “Something” to the doom-
debut album sales in the UK. Four
It Down,” this record feels like the realization of something special. laden drone of “I Want You (She’s So Heavy),” the band has never
teenagers from Sheffield, England, with no formal musical training,
If you’ve “outgrown” punk rock, then this album isn’t likely to thin sounded better. Whether it’s adding heft to the bass and drums to
crafted a sound that proved to be undeniable in both its wit, thanks
your blood. Fans of pop punk with excellent songwriting should find beef up the plucky hook of “She Came in Through the Bathroom
to Alex Turner’s knife-edge insights and commentaries, and its
a copy and start rocking the fuck out. —Brett Schwaner Window” or balancing the delicate strumming of “Here Comes the
catchy and straightforward songwriting. Their sophomore outing
Sun,” with its heavy, Moog-dipped bottom end, Abbey Road is the
expounded upon their debut and presents these lads in a slightly more
mature, if not increasingly judgmental and vicious light—the sound THE BEATLES showcase for the dynamic power of the remastered Beatles records
RE-ISSUES and the obvious demo for non-believers. For many, The Beatles are
of a few guys who traveled the world and didn’t necessarily like
(APPLE/EMI/CAPITOL) more of a cipher than they are a rock n’ roll group, icons of a much
everything they saw. Which brings us to Humbug, an album whose
dissected and ballyhooed era remembered mostly from sub-par AM
title aptly describes the murky cynicism and unrepentant rocking to
be found within. The Monkeys have come a long way since writing
numbers like “I Bet that You Look Good on the Dancefloor.” While
B y all measures, The Beatles have
been done to death through
decades of adulation and study. Yet
radio recordings, hissing dubbed tapes or dusty records. More than
anything, the splendid new versions of these classic albums allow
here we are amidst a new wave of an audience to reevaluate The Beatles, not as substance-less Gods
they do not stray too far from their previous formula, this record
Beatlemania, the result of a reverential of the hippie generation but as a band that made it bigger than any
is nonetheless unfailingly deeper and more powerful than past
videogame and series of CD remasters. other in history, reinvented what it meant to make “pop” music and
efforts. Part of this, no doubt, can be attributed to their collaboration
It’s a funny thing for someone like created the mold for modern rock n’ roll by writing great songs that
with the desert guru Josh Homme on seven of the ten tracks; the
me, who thought he had a handle on The Beatles. These reissues sound as powerful, delicate, soulful, fun and interesting today as
influence is not exactly hidden. But it seems rather then guiding
compelled me to reconsider the group, and I found myself once again they did forty years ago. —Mike Rodgers
their ship, Homme provided a space and mindset within which the
Monkeys were able to find true freedom. “Dangerous Animals,” head over heels for the “greatest band of all time.” In the amazingly
“Dance Little Liar” and “Pretty Visitors” realize this freedom with brief time of eight years, The Beatles went from teeny-bopping DRIVE-BY TRUCKERS
newfound guitar textures and effects and thunderous yet restrained rockers with a gift for melody to musical pioneers and virtually THE FINE PRINT
(NEW WEST)
drumming, as opposed to the normal rapid-fire approach, and the invented and codified the modern concepts of albums, studio work
use of sepulchral, moody organs. This freedom does not translate to
Humbug being even in the least uplifting or positive; for it is snide and
and pop music. What these remasters do, aside from improve the
sound on these treasured records, is allow an opportunity to hear T he Fine Print is a collection of
oddities and rarities from Drive-
by Truckers spanning from 2003-2008.
spiteful in a Lou Reed sort of way. No longer boys from Sheffield, The Beatles, not as ’60s relics but as a quartet that played some of
Arctic Monkeys are growing up—bah Humbug motherfuckers. — the best rock music of any stripe. Album by album you can chart the With most of the selections falling
Dan Mitchell incredible growth of the group from 1963’s Please Please Me’s raucous in the earlier part of that period, the
opener “I Saw Her Standing There,” where the band gets by on disc captures a moment in time that
BANNER PILOT youthful, energetic guitar picking and a tight dance groove to Rubber signified an embarrassment of creative
COLLAPSER Soul’s “Norwegian Wood (This Bird Has Flown)” only two years riches for the band. Considering the unparalleled strength of the
(FAT WRECK) later; already the band had incorporated complex song structures, albums they released during that time (The Dirty South and Decoration

I f you’re the kind of person who enjoys

frequent trips to the liquor store, long
rides on public transportation and late-
exotic instrumentation and thoughtful lyrics, distancing themselves
from the Merseyside sound of their debut. Even though, the music
was always unmistakably The Beatles and these new remastered
Day) it’s no wonder that even the castoffs are stellar. While the album
gets off to a bit of sluggish start with some middling tracks, the engine
really starts to rev in the middle of the disc on the Tom T. Hall cover
night readings of John Fante novels, CDs let the true depth of that statement shine in a way not heard “Mama Bake A Pie (Daddy Kill A Chicken),” a tune written during
then I may have found something up since their original pressings. Released in 1987, the original CDs the Vietnam war that perfectly encapsulates the isolating feeling
your alley. There’s a lot to be said about were OK by that day’s standards, but their thin, tinny sound has of returning from war a different man than the one who left. Two
Collapser, the second album by Banner only continued to lose luster. Stacked next to those discs, the 2009 of the album’s later tracks, “When the Well Runs Dry” and “Mrs.
Pilot, one of the current crop of weirdly good prog-punk bands to reissues are incontestably better—clarity is amped across the board, Claus’ Kimono,” were left off the band’s most lackluster outing, A
come out of Minneapolis in the past five years or so. The group’s last with each Beatle’s parts bright and distinct. Volume is also raised Blessing and A Curse. God only knows why, as they’re far better than
outing, 2008’s Resignation Day, received a moderate amount of praise in total, but not to the distorted extremes of today’s compression anything that actually made it on to that record. The first showcases
upon its release, with an underlying criticism that the album’s songs, race. The most obvious beneficiaries of the sonic scrubbing are former guitarist/vocalist Jason Isbell channeling Neil Young, and
as well-written as they were, may have been a bit “same-sounding.” Paul and Ringo’s rhythm parts. In a side-by-side comparison of the the latter details Rudolph’s pact with an elf to frame Santa for drug
The thing about Banner Pilot, you see, is that they’ve always come off ’87 Revolver and its newer counterpart, the difference is night and trafficking (it will fit perfectly next to your copy of Aaron Neville’s
as having a lot of love for bands like Jawbreaker and The Lawrence day. Where the old mix of “Taxman” sounded flat, muddled and cover of “Ava Maria” this Christmas). The album wraps up with
Arms without having really put their own signature on the style. I keep dull, the new version boasts a thicker bass line and each kick drum a beautiful acoustic children’s song (yes, children’s song) by Mike
checking my ears, but Collapser just may finally be the realization of sounds meaty and clear. These versions show The Beatles’ sound Cooley, in addition to two covers: Warren Zevon’s “Party All Night
Banner Pilot’s potential. It’s 24 Hour Revenge Therapy and Apathy and as more muscular than crackling oldies stations, outdated CDs or Long” and Bob Dylan’s “Like a Rolling Stone.” The Zevon cover
Exhaustion, done their way. With Collapser, Banner Pilot channels a little the cheap cassettes I grew up with had ever hinted at. The older brings howling power and is a great representation of what these guys
bit of both those bands but comes off with a texturally different sound, albums benefit from the heavier mix—the deeper sound enhances are like live. As for Dylan, some consider this song untouchable—a
somewhere between the snotty introspection of Blake Schwarzenbach the caustic emotional weight of tracks like “No Reply” or the sacred totem. But the spin the Truckers put on it makes it a raucous
and the drunken malaise of Brendan Kelly. Now, I don’t think that groove behind songs like “I Feel Fine,” where once only the shuffle sing-a-long, giving each vocalist (including bassist Shonna Tucker) a
Banner Pilot has been seriously setting out to give hand jobs to those of trebly guitars and vocal harmonies were audible. The stereo verse of their own. It’s a unique way to pay homage to the tune while
two bands. The “hand job” accusation is incredulous because: A.) The mixes also highlight the studio craft of later records—Sgt. Pepper is infusing it with their style and it’s a great way to wrap up an album
Lawrence Arms themselves are obviously doing their best to channel dynamic and fluid, with its psychedelic mix of ’60s rock and pop of above-average additions to their already thick catalog. —Erin Hall
Jawbreaker and B.) Jawbreaker was trying to be pop punk’s version orchestration finding true expression in the wide open mixes of
of Jack Kerouac in the 1990s, if just a bit. That, plus their songwriting “Lovely Rita” and “Good Morning Good Morning,” which sustain MORE REVIEWS ON PAGE 27...

MUSIC REVIEWS SPONSORED BY THE OFFICIAL RECORD STORE OF ANTIGRAVITY

24_antigravity: your new orleans music and culture alternative

antigravitymagazine.com_27
REVIEWS
THE FEELIES of two-to-three-minute car wrecks: trebly guitars shred in barely I, OCTOPUS
CRAZY RHYTHMS contained riffs before disintegrating into chaos. The album sounds I’D RATHER BE A LIGHT-
(BAR NONE) mean spirited, with vocalist B.R.A.D. Mowen croaking, screaming NING ROD THAN A SEIS-
and brutalizing his throat over Tommy Niemeyer’s spare, quick
W hile I was not even granted
staus of forethought on my
and dirty thrash guitar. “Scotty Came Back” is a minute-thirty of
raw aggression, but it’s immediately followed by “Hemline,” which
MOGRAPH
(INDEPENDENT)
parents’ behest in the year 1980, The
Feelies’ debut release, Crazy Rhythms,
has affected me none the less. Post-
uses a wah-wah pedal to draw out a menacing southern drawl
from its chords and crafting a groove reminiscent of early Cannibal
I f outer space and and our Lynch-
ian subconscious are the domain of
bands like Metronome the City and
Corpse. The Curse of Martha Splatterhead is a no-frills affair, dead
punk in America in the late ’70s seems A Living Soundtrack, then the murky
eyed, grinding thrash. With the imminent return of Megadeth and
to me to be somewhat of a quagmire, depths of the sea belong (naturally) to
more and more bands both within heavy metal and outside (think
a time when, after the No Wave assault on New York occurred, I, Octopus, one of New Orleans’ premiere prog/jam rock bands.
power punk’s affinity for musclebound leads) adopting the tropes of
in large part accentuated by Brian Eno, few absolute conquistadors More gritty and organic than their contemporaries, I, Octopus’
thrash metal, namely crushing precision, aggression and speed over
took ownership of the time until Mission of Burma stormed the first full-length, I’d Rather be a Lightning Rod Than a Seismograph, is
artificial “heaviness,” it’s good to see bands that never put the genre
soundscape almost four years later. But there is a gem, by the name the most fully realized version of this ever-evolving band to date,
down in favor of radio-baiting mid-tempo pablum still producing
of Crazy Rhythms and long since out of print officially, that helps showing a maturity and restraint amidst so many possibilities. It’s as
great headbanging tunes. —Mike Rodgers
to shed light on the fact that American post-punk was not about a if all those tentacles have stopped flailing about wildly and gained a
single group or artist but rather, as the fundaments of this country firm grasp of the dark and hazy terrain. Keyboards, synthesizers and
decree, was destined to be a collective and manifold endeavor. The HEARTSOUNDS saxophones all snake their way in and around the already heavily-
thing that sets The Feelies apart from the herd is how up-front and UNTIL WE SURRENDER affected, instrumental jams but without ever becoming overbearing,
to the point these guys were when so many other artists at the time (CREATOR DESTRUCTOR) feeling as natural to the song as coral growing up from the sea floor.
were shooting for the arcane and obscure. They did a cover, on the
official album, of “Everybody’s Got Something to Hide Except For
Me and My Monkey,” for Christ’s sake, and they killed it. It seems
H eartsounds is a two-piece group
made up of a couple members
of the metal band Light This City.
(It’s also like being just high enough to achieve some kind of next-
plane consciousness without pushing it into the straight up giggle
fits.) Helped along by excellent production and a straightforward
that similar times have arisen as of late that mirror in many ways the I’m not sure if Light This City is still rhythm section, I’d Rather Be... never lingers too long on any one
musical landscape of the late ’70s and early ’80s. For The Feelies, together in some capacity, but the two phrase and also borrows from the irreverence and energy of the
music was about truth and honesty, roots and understandings; members of Heartsounds are no longer band’s alter-ego, White Colla Crimes, making it less hard to imagine
many bands today may make good if only they abided by the same part of that group. In retrospect, Light that both bands share the same core members. An album release
philosophy laid out by their forefathers, bands like The Feelies. This City may have been an underappreciated act during their time, show for the album is scheduled for October 24th at the Hi Ho
—Dan Mitchell the gaudy nature of their fashion sense and glossy press photos Lounge, wetsuit optional. —Dan Fox
perhaps undermining the creativity of their recorded works (which
GWAR were highly entertaining to anyone able to look past the pretenses MONSTERS OF FOLK
LUST IN SPACE of the mid-2000s metalcore movement). Their sound was highly MONSTERS OF FOLK
(METAL BLADE) demonic, for sure, perhaps on a similar level as contemporary (SHANGRI-LA MUSIC)
THE ACCUSED
THE CURSE OF MARTHA
SPLATTERHEAD
acts such as Darkest Hour and just mildly reminiscent of Nathan
Explosion from, you know, that Dethklok show. If you ever want to
experience the whole “play the record backwards to hear the voice
W hat do you get when you
combine four of indie rock’s
preeminent artists? Monsters,
(SOUTHERN LORD) of Satan speaking directly to you” thing, just track down copies of apparently. Despite their name

A hh, thrash metal, the lost art of

speed abandoned to the ether
somewhere around the early ’90s.
LTC’s Facing The Thousand or The Hero Cycle. Both those records
pay sufficient homage to dark worlds and secret blood rituals and
the like. Heartsounds, however, is a different beast all together, half
sounding like some collection that
Time Life would be selling on an
infomercial at 4am, the Monsters of
Forgotten in the down-tuned chugging, a world away from their previous group in almost all regards. The Folk’s self-titled debut shows great depth and highlights the vast
hardcore aping and rap rocking ’00s group’s debut album, Until We Surrender, has a decidedly indie/ talent that exists amongst its four members (Bright Eyes’ Conor
is the ability to play riffs fast and punk-oriented vibe to it and is, at least on the surface, demon-free Oberst and Mike Mogis alongside My Morning Jacket’s Jim James
tight, eschewing artificial heaviness (although I’ve yet to play it backwards, so don’t take my word for and solo artist M. Ward). Each member plays multiple instruments
with machine gun fretting and heroic it). Heartsounds, despite their awkward name, is still a bit vicious throughout, and with Oberst, James and Ward switching off lead
melodies. Thank the Gods we have around the edges, but on a much more disciplined, pointedly vocal duties, there’s no opportunity to feel bored or fall into a rut.
bands like GWAR and The Accused restrained level than Light This City ever was. There are some Ward’s moments in the spotlight tend to be on the more tender,
to keep the banner high. Both of these personal revelations, positive ones, going on between the grinding introspective tracks. Oberst is featured on the winding and bending
bands have a history within the genre screams and over-dubbed vocals on Until We Surrender. The album’s lyrical joints. And James finds his place on all the mishmashed, in-
and both have returned with new opener, “The Song Inside Me,” is a slickly-produced and acutely between tracks, evoking artists from Johnny Cash to David Byrne to
efforts that keep the thrash flag flying. GWAR has been one of the self-aware anthem about “finding ones true voice”—a notion easily Elvis Costello. Their strength is clearest when they all tackle a song,
most noticeable bands in heavy metal for years now, keeping a pop misconstrued (mostly by people like me) as being an unnecessary taking turns at the mic in rapid succession (“Say Please” and “Baby
cultural presence due to their extravagant costumes, stage shows and defense of the group’s shift from death metal to pop punk. I mean, Boomer”). The album is paced perfectly with just the right ratio of
mythology even when their music wasn’t in vogue. Though it’s had I guess if you’re going to address the elephant in the room, you up-tempo to low-key tracks. And just because “folk” is in the title
its ups and downs, GWAR’s career has been fairly consistent—they might as well do it with style, you know? Until We Surrender has doesn’t mean these guys are one-trick ponies. There are shades of
play punk-influenced speed metal laced with gore, satirical violence a lot of vibrant energy and uplifting sound, so I’ll give it a basic reggae, traditional folk, bright jangly rock, synth pop and country
and bad taste. Lust in Space continues that trend, punctuating rapid- pass based solely on that criteria. If nothing else, the production present here. It’s a mixed bag with a little something for everyone.
fire riffs with over-the-top leads, and Oderus’s operatic vocals quality is a small breath of fresh air in an era in which independent Supergroups are not usually a very artistically successful idea.
that fluctuate between Viking howl, beastly growl and a vaguely artists have become self-conscious of sounding “too over produced.” Warring egos and clashing styles tend to create riffs that leave the
aristocratic mid-range. Lust in Space is to my ears GWAR’s strongest Heartsounds hits the mark quite nicely without being too flashy. music feeling stunted and fragmented, not to mention cavernously
record since the mid ’90s. Tracks like “Damnation Under God” see —Brett Schwaner void of meaning. Not the case here. These guys are all stars in their
them adding some double-tracked vocal melodies, but for a band own right, but as the Monsters of Folk, they’re just another four guys
that once penned a southern rock song about spousal abuse and throwing all they’ve got into every track, win, lose or draw. And it is
a cabaret drone about Sammy Davis Jr. the proceedings are fairly most definitely, without a doubt, a big, big win. —Erin Hall
straightforward. The Accused are far less known, no doubt owing
to their reliance on stripped down brutal metal over GWAR’s more
theatrical approach. The Curse of Martha Splatterhead is a collection MORE REVIEWS ON PAGE 38...

antigravitymagazine.com_ 27
 EVENTS
THURSDAY 10/1 MONDAY 10/5
NEW ORLEANS VENUES NEW ORLEANS (Cont.)
45 Tchoup, 4529 Tchoupitoulas (504) 891-9066 MVC, 9800 Westbank Expressway, (504) 234-
The Angel Sluts, Saturn Bar, 9pm Citizen Cope, Courtney Dowes, Republic, $28
2331, www.themvc.net The Clouds are Ghosts, High in One Eye, Dillon, Singleton, Frehlich, Dragon’s Den
Banks St. Bar And Grill, 4401 Banks St., (504)
Circle Bar (Upstairs), 10pm
486-0258, www.banksstreetbar.com Neutral Ground Coffee House, 5110 Danneel St.,
Hades Night, The Saint, Midnight Hunx and His Punx, The Poots, Statutory
Barrister’s Art Gallery, 2331 St. Claude Ave. (504) 891-3381, www.neutralground.org
Phoenix, Chairlift, Tipitina’s, 10pm, $18 Rhodes, Saturn Bar, 9pm
The Big Top, 1638 Clio St., (504) 569-2700, Nowe Miasto, 223 Jane Pl., (504) 821-6721 Scotland Green’s Comedy Showcase, Ige*Timer, Fair Grinds Coffeehouse, 8pm
www.3ringcircusproductions.com Ogden Museum, 925 Camp St., (504) 539-9600 Carrollton Station, 9pm, FREE The Sounds, One Eyed Jacks
The Blue Nile, 534 Frenchmen St., (504) 948-2583 One Eyed Jacks, 615 Toulouse St., (504) 569- Thomas Johnson, d.b.a., 7pm Strung Out, The Flatliners, Alias Orion,
Broadmoor House, 4127 Walmsley, (504) 821- 8361, www.oneeyedjacks.net Howlin’ Wolf, 9pm, $15
2434 Outer Banks, 2401 Palmyra (at S. Tonti), FRIDAY 10/2
(504) 628-5976, www.myspace.com/ TUESDAY 10/6
Carrollton Station, 8140 Willow St., (504) 865-
outerbanksmidcity ActionActionReaction Indie Dance Party,
9190, www.carrolltonstation.com
Republic, 828 S. Peters St., (504) 528-8282,
Circle Bar Alex Pena, Dragon’s Den (Upstairs), 10pm
Checkpoint Charlie’s, 501 Esplanade Ave., am540, COOT, Carrollton Station, 9pm Boycott Drew, Dragon’s Den (Downstairs),
(504) 947-0979 www.republicnola.com
Arctic Monkeys, The Like, House Of Blues, 8pm 10pm
Chickie Wah Wah, 2828 Canal Street (504) Rusty Nail, 1100 Constance Street (504) 525-
Captain’s Dead Presents: Those Darlins, Charlatans UK, One Eyed Jacks
304-4714, www.chickiewahwah.com 5515, www.therustynail.org/
Country Fried, One Eyed Jacks Ige*Timer w/ Dave Easley, Jeff Albert, Blue
Circle Bar, 1032 St. Charles Ave., (504) 588- The Saturn Bar, 3067 St. Claude Ave., www. Dee-1, Republic, 10pm, $5 Nile, 10pm
2616, www.circlebar.net myspace.com/saturnbar
The Dynamites, Tipitina’s, 10pm, $10 Luke Allen, Steve Eck, Blind Texas Marlin,
Club 300, 300 Decatur Street, www. Side Arm Gallery, 1122 St. Roch Ave., (504) Hot Club of New Orleans, d.b.a., 6pm Circle Bar
neworleansjazzbistro.com 218-8379, www.sidearmgallery.org “In Purgatory” Movie Wrap Party f/ Within
Coach’s Haus, 616 N. Solomon Southport Hall, 200 Monticello Ave., (504) 835- Reason, The Stratus Project, Southdown, WEDNESDAY 10/7
2903, www.newsouthport.com Howlin’ Wolf, 10pm, $8
The Country Club, 634 Louisa St., (504) 945-
The Spellcaster Lodge, 3052 St. Claude Mae, The Parish @ House Of Blues, 9pm Dan Deacon, Nuclear Power Pants,
0742, www.countryclubneworleans.com
Avenue, www.quintonandmisspussycat.com/ Misled, Sheridan Road, Idol Handz, The Bar, Pumpkin, The Big Top, 7pm, $5
d.b.a., 618 Frenchmen St., (504) 942-373, www. tourdates.html 9pm Dear and The Headlights, Kinch, The Parish
drinkgoodstuff.com/no
St. Roch Taverne, 1200 St. Roch Ave., (504) Pine Leaf Boys, d.b.a., 10pm, $5 @ House Of Blues, 9pm
Der Rathskeller (Tulane’s Campus), McAlister 945-0194 Reverend Spooky LaStrange and Her Billion- Game Rebellion, Rich Hip and The Electro
Dr., http://wtul.fm Dollar Baby Dolls, Dragon’s Den (Upstairs), 10pm Limo Band, Zeitgeist, 8pm
Tipitina’s, (Uptown) 501 Napoleon Ave., (504)
Dragon’s Den, 435 Esplanade Ave., http:// 895-8477 (Downtown) 233 N. Peters, www. Slangston Hughes’ Uniquity, Dragon’s Den K’Jon, House Of Blues, 8pm
myspace.com/dragonsdennola tipitinas.com (Downstairs), 10pm Wazozo, Circle Bar
Eldon’s House, 3055 Royal Street, The Zeitgeist, 1618 Oretha Castle Haley Blvd., Steve Eck, Esquilita, Hi-Ho Lounge, 10pm
[email protected] (504) 827-5858, www.zeitgeistinc.net We’re Only in it For the Honey, The Poots, THURSDAY 10/8
Ernie K-Doe’s Mother-in-Law Lounge, 1500 Buddha Belly, 10pm, FREE
Vintage Uptown, 4523 Magazine St.,
N. Claiborne Ave. [email protected] Drunken Spelling Bee, Handsome Willy’s,
SATURDAY 10/3 10pm
Fair Grinds Coffee House, 3133 Ponce de
Groovestain, The Scorseses, The Bar, 9pm
Leon, (504) 913-9072, www.fairgrinds.com METAIRIE VENUES Andrew Bird, St. Vincent, Tipitina’s, 10pm, $22 Praise 94.9 Presents: Brian Courtney Wilson,
Fuel Coffee House, 4807 Magazine St. (504)
Airline Lion’s Home, 3110 Division St.
Anxious Sound Presents: Frank Rosaly, The Parish @ House Of Blues, 8pm
895-5757
Libra Party, All-Ways Lounge, 10pm Smiley With a Knife, Neck Beard, The Self
Goldmine Saloon, 701 Dauphine St., (504) 586- Badabing’s, 3515 Hessmer, (504) 454-1120 Black Market Halos, Drowning Man Trials, Help Tapes, Banks Street Bar & Grill, 10pm,
0745, www.goldminesaloon.net The Bar, 3224 Edenborn, myspace.com/ The Bar, 9pm FREE
The Green Space, 2831 Marais Street (504) 945- thebarrocks Chuck Perkins’ Down South Revue, Dragon’s Susan Cowsill and Russ Broussard, Carrollton
0240, www.thegreenproject.org Hammerhead’s, 1300 N Causeway Blvd, (504) Den (Upstairs), 10pm Station, 9pm, FREE
Handsome Willy’s, 218 S. Robertson St., (504) 834-6474 The Dead Weather, House Of Blues, 8pm Trey Songz, Mario and Day26 w/ Special
525-0377, http://handsomewillys.com The High Ground, 3612 Hessmer Harlem, GG King, Die Rotzz, Missing Guests, House Of Blues, 8pm
The Hangar, 1511 S. Rendon. (504) 827-7419 Ave., Metairie, (504) 525-0377, www. Monuments, Nassty Habits, Saturn Bar, 10pm Twangorama Acoustic, Circle Bar
thehighgroundvenue.com Ige*Timer, McKeown’s Books, 8pm Washboard Chaz Blues Trio, d.b.a., 7pm
Hi-Ho Lounge, 2239 St. Claude Ave. (504) 945-
4446, www.myspace.com/hiholounge The Junior League w/ Lee Baines III, The WTUL Presents: Wavves, Ganglians,
Hostel, 329 Decatur St. (504-587-0036),
BATON ROUGE VENUES Blametakers, Circle Bar Caddywhompus, Howlin’ Wolf, 9pm, $10
Little Freddie King, d.b.a., 11pm, $5
hostelnola.com
The Caterie, 3617 Perkins Rd., www.thecaterie.com Prytania, Earphunk, The Parish @ House Of FRIDAY 10/9
Hot Iron Press Plant, 1420 Kentucky Ave., Blues, 9pm
Chelsea’s Café, 2857 Perkins Rd., (225) 387-
[email protected]
3679, www.chelseascafe.com The Socials, Spillway, Carrollton Station Big Blue Marble, Lux, Circle Bar
House Of Blues / The Parish, 225 Decatur, The Tangle, Hi-Ho Lounge, 10pm Courtland Burke EP Release Party, Carrollton
The Darkroom, 10450 Florida Blvd., (225) 274-
(504)310-4999, www.hob.com/neworleans Truth Universal w/ Grass Rootz, Dragon’s Station
1111, www.darkroombatonrouge.com
The Howlin’ Wolf, 907 S. Peters, (504) 522- Den (Downstairs), 10pm Happy Talk Band w/ R. Scully and The
Government St., 3864 Government St., www.
WOLF, www.thehowlinwolf.com Zydepunks, Wino Vino, DJ Rusty Lazer, Rough Seven, d.b.a., 10pm, $5
myspace.com/rcpzine
Kajun’s Pub, 2256 St. Claude Avenue (504) 947- Marigny Theatre, 10pm Holy Hell its Mel! Dangerous Minds,
North Gate Tavern, 136 W. Chimes St. Unicorn Fukr, Proppa Bear,Skymatik,Jeffy
3735, www.myspace.com/kajunspub
(225)346-6784, www.northgatetavern.com
Kim’s 940, 940 Elysian Fields, (504) 844-4888 SUNDAY 10/4 D, Skittlez Double A. (Brought to you by
Red Star Bar, 222 Laurel St., (225) 346-8454, Organized Confusion), Hi-Ho Lounge, 10pm
The Kingpin, 1307 Lyons St., (504) 891-2373 www.redstarbar.com Aquarium Drunkard Presents: Blitzen Ingrid Lucia, d.b.a., 6pm
Le Bon Temps Roule, 4801 Magazine St., (504) Rotolos, 1125 Bob Pettit Blvd. (225) 761-1999, Trapper, Wye Oak, Leo DeJesus, One Eyed Mayer Hawthorne and The County, The
895-8117 www.myspace.com/rotolosallages Jacks Parish @ House Of Blues, 9pm
Le Chat Noir, 715 St. Charles Ave., (504) 581- The Spanish Moon, 1109 Highland Rd., (225) Gorilla Productions’ Battle of the Bands, Radz Blues Weekend: Hellhound on
5812, www.cabaretlechatnoir.com 383-MOON, www.thespanishmoon.com Howlin’ Wolf, 5pm, $8 My Trail, An Evening of Pre-War Blues,
Lyceum Central, 618 City Park Ave., (410) 523- The Varsity, 3353 Highland Rd., (225)383-7018, Ige*Timer w/ Helen Gillet and Aurora Tipitina’s, 10pm, $25
4182, http://lyceumproject.com www.varsitytheatre.com Neeland, Hi-Ho Lounge, 10pm Savius, Accora, The Bar, 9pm
Lyon’s Club, 2920 Arlington St. Mas Mamones, d.b.a., 10pm Silent Cinema, Republic
Noxious Noize Presents: The Network, Static Television Presents: A Place to Bury
Mama’s Blues, 616 N. Rampart St., (504) 453-9290
Robotosaurus, Dragon’s Den, 5pm Strangers, Darker My Love, One Eyed Jacks
Maple Leaf, 8316 Oak St., (504) 866-9359 Sean Stair, Floopy Head, Dragon’s Den Street Gumbo, Dragon’s Den (Upstairs), 10pm
Marlene’s Place, 3715 Tchoupitoulas, (504) (Downstairs), 10pm White Bitch, All-Ways Lounge, 9:30pm
897-3415, www.myspace.com/marlenesplace Soraia, Henry Clay People, Red Cortez, Who’s Bad: Michael Jackson Tribute Band,
McKeown’s Books, 4737 Tchoupitoulas, (504) Circle Bar House Of Blues, 8pm
895-1954, http://mckeownsbooks.net Tower of Power, Los Po Boy Citos, House Of Yula Beeri and Special Guests, Dragon’s Den
Melvin’s, 2112 St. Claude Ave. Blues, 8pm (Downstairs), 10pm

28_antigravity: your new orleans music and culture alternative

antigravitymagazine.com_29
 EVENTS
SATURDAY 10/10 Natalie Mae Palms, Luke Winslow King,
Circle Bar
2nd Annual Music for Matt f/ Papa Grows Ramming Speed, Cannibus Corpse,
Funk, The Revivalists, Howlin’ Wolf, 9pm, $10 Serpentis, Great Void, Saturn Bar, 9pm
Aiua, The Mojo Method, Zeitgeist, 7:30pm Smitty, d.b.a., 6pm
Autotomii, High in One Eye, Dragon’s Den
(Upstairs), 10pm FRIDAY 10/16
The Black Crowes, House Of Blues, 8pm
Built to Destroy, The Great Void, Blood Alex McMurray, d.b.a., 10pm, $5
Churn, Hi-Ho Lounge, 10pm Ben Labat, The Happy Devil, Carrollton
Generationals, All-Ways Lounge, 9:30pm Station
James Hall, Circle Bar A Day to Remember, Parkway Drive, In
Maddie Ruthless, Trenchtown Texans, Fear and Faith, I See Stars, House Of Blues,
Dragon’s Den (Downstairs), 10pm 6pm
N.O. Guitar Masters in the Round f/ Jimmy DeBauche, Hi-Ho Lounge, 10pm
Robinson, John Rankin, Phil DeGruy, Glasgow, Republic
Carrollton Station For Karma, The Bar, 9pm
Radz Blues Weekend: Got My Mojo Hot Club of New Orleans, d.b.a., 6pm
Workin’, An Evening of Post-War Blues, Loren Murrell, All-Ways Lounge, 9:30pm
Tipitina’s, 10pm, $25 The New Orleans Jazz & Heritage
Rain Machine, One Eyed Jacks Foundation Presents a Benefit for the
Severed Mass, Mutilate the Willing, The Bar, Heritage School of Music f/ Richie Havens,
9pm Howlin’ Wolf, 8:30pm, $20
Suplecs, d.b.a., 11pm, $5 New Orleans Partying, DJ Rockaway,
Truth and Salvage Co., The Parish @ House Dragon’s Den (Downstairs), 10pm
Of Blues, Midnight Simple Play w/ Two Fresh and M@ Peoples
Collective, Dragon’s Den (Upstairs), 10pm
SUNDAY 10/11 The Swip, War Amps, Circle Bar
Thee Oh Sees, Static Static, Wizzard Sleeve,
Barnstormer, Dragon’s Den (Upstairs), 7pm Saturn Bar, 10pm
Green Genes, All-Ways Lounge, 9:30pm WTUL Presents: Japandroids, One Eyed Jacks
Independents, High in One Eye, Shoot the
Daily Edit, Dragon’s Den (Downstairs), 7pm SATURDAY 10/17
Jimmy Carpenter, d.b.a., 10pm
Kings of Happy Hour, Dragon’s Den ActionActionReaction Dance Party, One
(Downstairs), 10pm Eyed Jacks, Midnight
Loose Marbles, Washboard Chaz w/ Antigravity Presents: The Crescent
Members of Fleur de Tease, House Of Blues, City Comics Live Art Party w/ Kody
Midnight Chamberlain, Rob Guillory and Various
Neon Indian, BLK JKS, One Man Machine, Artists, Crescent City Comics (4916 Freret), 7pm,
Republic, $12 FREE
Pitbull, David Rush, House Of Blues, 7:30pm Bloodfeast III, Dragon’s Den (Upstairs), 10pm
Designate Zero w/ T.U.C., Truth in Flames,
MONDAY 10/12 The Bar, 9pm
Gal Holiday & the Honky Tonk Revue,
The 69 Eyes, The Becoming, Dommin, Circle Bar
Howlin’ Wolf, 9pm, $17 Gary Allan (An Evening With), House Of
Jay and Kendra’s Wedding Bash w/ The Blues, 8pm
Best Show Ever f/ Eyehategod, Suplecs, The Morning Life, Jimmy Messa and Dave
Secret Assholes, Felix, and MC Jubilee, One Rosser, Carrollton Station
Eyed Jacks Michelle Shocked, Blue Nile, 10pm, $20
Ya Boy Mixtape Release Party, Dragon’s Den Os Mutantes, DeLeon, Tipitina’s, 10pm, $25
(Upstairs), 10pm Otra, d.b.a., 11pm, $5
The Public Album Release Party w/ The
TUESDAY 10/13 Tomatoes, One Eyed Jacks, 10pm
Reverend Spooky LeStrange’s Church of
The Consolation Wars, Dragon’s Den Burlesque, Hi-Ho Lounge, 10pm
(Downstairs), 10pm SOJA, The Movement, The Live Oaks, 27
Damon Moon, Circle Bar Lights, Howlin’ Wolf, 9:30pm, $10
White Colla Crimes, Dragon’s Den (Upstairs), Wolves, Where? All-Ways Lounge, 9:30pm
10pm
SUNDAY 10/18
WEDNESDAY 10/14
Andy J Forest, d.b.a., 10pm
“Let’s Rob the Cheese Shop” Film Premiere, City Zoo, All-Ways Lounge, 9:30pm
The Happy Talk Band, One Eyed Jacks, Har Mar Superstar, One Eyed Jacks
6:30pm [First Screening]; w/ The Unnaturals, Mat Kearney, Vedera, House Of Blues, 8pm
Country Fried, 8pm [Second Screening]
Magnolia Sons, Gamma Ringo, The MONDAY 10/19
Archibalds, Circle Bar
Needtobreathe, The Parish @ House Of Blues, Martin Krusche, Dragon’s Den (Upstairs),
9pm 10pm

THURSDAY 10/15 TUESDAY 10/20

Andrew Duhon, d.b.a., 7pm Mojo Method, Dragon’s Den (Downstairs),

Guerilla Union Presents: Goodie Mob 10pm
Reunion, House Of Blues, 9pm Senses Fail, A Skylit Drive, Closure in
Homegrown Night, Tipitina’s, 8:30pm, FREE Moscow, Fact, The Hangar, 6pm, $18 [All-
Local Spotlight Series f/ Earphunk, Brothers Ages]
and Kings, Howlin’ Wolf, 9pm, $10 The Wandas, Circle Bar

antigravitymagazine.com_31
 EVENTS
WEDNESDAY 10/21

Defend New Orleans Presents: Junior Boys,

One Eyed Jacks
Jonathan Singleton, The Grove, The Parish
@ House Of Blues, 9pm

THURSDAY 10/22

Barisal Guns, Hightide Blues, Zama Para,

Howlin’ Wolf, 10pm, $8
Evan Christopher, d.b.a., 7pm
Homegrown Night, Tipitina’s, 8:30pm, FREE
Leo DeJesus, Carrollton Station, 9pm, FREE
Little Feat, House Of Blues, 8pm

FRIDAY 10/23

Big Rock Candy Mountain, Republic

Chrystal Skye and The Lost Souls Tavern,
DJ Sorcerer Jones and Ms. Techno, Hi-Ho
Lounge, 10pm
Dirty Bourbon River Show, All-Ways Lounge, 9:30pm
Fuse TV Slave to the Metal Tour, Howlin’
Wolf, 6pm, $10
Holy Rolling Empire, Circle Bar
Ingrid Lucia, d.b.a., 6pm
Joe Krown, Walter Wolfman Washington,
Russell Batiste Trio, d.b.a., 10pm, $5
Liquidrone, One Eyed Jacks
The Nawlins Johnnys, Carrollton Station
Panorama Jazz Band, The Big Top, 5pm-7pm,
$5 (Non-members)
Project Independent Metal Showcase, The
Hangar, 6:30pm
Shadow Gallery, Dragon’s Den (Upstairs), 10pm
Touching the Absolute, Centerpunch, Slack
Adjustor, The Bar, 9pm

SATURDAY 10/24

Bearracuda, One Eyed Jacks

Big Blue Marble, Carrollton Station
Double Fresh, Dragon’s Den

��������������
TUESDAY 10/27
E.O.E.’s Fall B-Day Blowout w/ Wild
Magnolias, CND Asylum Dance Crew, Christabel and The Jons, Circle Bar
Derrick Freeman, Tipitina’s, 10pm, $8 Death by Arrow, J.P. Harris and The
Felix, Microshards, Esquelito, Circle Bar Tough Choices, Woody Pines, All-Ways

�������������������������������
Five Star Fiasco, First Fracture, Prytania, Lounge, 9:30pm
The Bar, 9pm Or, The Whale w/ Silent Cinema, One Eyed
Fringe Festival Pu-Pu Platter, Sidearm Gallery Jacks
(1122 St. Roch), 8pm, FREE Van Halen II, Dragon’s Den (Upstairs), 10pm
Fuse TV Slave to the Metal Tour, Howlin’

������������������������
Wolf, 6pm, $10 THURSDAY 10/29
I, Octopus Album Release Party, Hi-Ho
Lounge, 10pm Colin Lake, d.b.a., 7pm
IAC: Garcia Project, The Big Top, 8pm, $10 Des Ark, Pygmy Lush, Ghastly City Sleep,

����������������������������������������������
KMFDM, Angelspit, House Of Blues, 9pm Why Are We Building Such a Big Ship?,
Mod Dance Party, Saturn Bar, 11pm Side Arm Gallery, 7pm, $5
Pumpkin, All-Ways Lounge, 9:30pm Ringo Deathstarr, Caddywhompus, Circle Bar
The Unnaturals, Checkpoint Charlie’s, 11pm, FREE

�����������������
Super Secret Fireman & Turducken Masked
Band Ball, Hi-Ho Lounge, 9pm [See ANTI-
SUNDAY 10/25 News story for full lineup]
The Black Heart Procession, The Mumlers,
������������������������
FRIDAY 10/30
One Eyed Jacks
Irene Sage, d.b.a., 10pm
����������������������������
The Drapers, Carrollton Station
Kelly Carlyle, Circle Bar Endless Night Dark Party / Anne Rice
Liquid Peace Revolution, Parallax, Dragon’s Afterparty, Dragon’s Den, 10pm
Den (Downstairs), 10pm
������������������ Lubricatour f/ RevCo, Appearing
Galactic w/ Mike Dillon’s GoGo Jungle,
Tipitina’s (Uptown), 10pm, $25
Ringmaster Jim Rose w/ Special Guests, The
��������������������������� Parish @ House Of Blues, 9pm
Hanson, Sherwood, House Of Blues, 7:30pm
Hat Talk, Meadow Flow, Constants, Banks
Our Lady Peace, House Of Blues, 8pm Street Bar & Grill, 10pm, FREE
Rockpile, Dirty Dozen Brass Band, Zeitgeist, 8pm
������������������������������������ Sun Hotel, All-Ways Lounge, 9:30pm
Lowdrag, Spickle, Scraps of Life, The Bar, 9pm
New Orleans Klezmer All-Stars, d.b.a.,
10pm, $5
MONDAY 10/26 New Orleans Moonshiners, d.b.a., 6pm
PBS (Porter/Batiste/Stoltz) w/ Bonerama,
Noxious Noize Presents: S.M.U.T., Dragon’s Tipitina’s (French Quarter), 11:30pm, $25
Den (Upstairs), 10pm

32_antigravity: your new orleans music and culture alternative

 EVENTS
R. Scully and His Rough Seven, Ratty Walter Wolfman Washington and The
Scurvics, Hi-Ho Lounge, 10pm Roadmasters, d.b.a., 10pm, $5
The Trashies, Saturn Bar, 10pm
Wolff f/ Tuba of Drums & Tuba, d.b.a., 2am, $5 THURSDAYS
Voodoo at Night Presents a Benefit for The
New Orleans Musicians Clinic f/ John Come Drink with Matt Vaughn, R Bar
“JoJo” Hermann, Ivan Neville, George DJ Bomshell Boogie Presents: The
Porter Jr., Russell Batiste, Ian Neville, Bomshelter, Dragon’s Den (Upstairs)
Howlin’ Wolf, 10pm, $15 DJ Kemistry, LePhare
DJ Matic, Hostel
SATURDAY 10/31 DJ Proppa Bear Presents: Bassbin Safari,
Dragon’s Den (Downstairs), 10pm
Dirty Dozen Brass Band, Tipitina’s (French Fast Times ‘80s Dance Night, One Eyed Jacks
Quarter), 11:30pm, $20 The Fens w/ Sneaky Pete, Checkpoint
For the Wait, Shadow Cast, The Bar, 9pm Charlie’s, 10pm
Halloween w/ Rotary Downs, d.b.a., 11pm, Hap Pardo Jazz Trio, All-Ways Lounge
$20 Jeremy Davenport, The Davenport Lounge @
Hot Chip (DJ Set), King Britt, Republic, $25 Ritz-Carlton New Orleans
Louisiana DnB Presents Thriller f/ Tony Karaoke Fury, La Nuit Comedy Theater, 10pm
Skratchere, DJ Kazu, The Honorable South, Mixture, Republic, 10pm, $7
Dragon’s Den Pure Soul, House Of Blues, Midnight
Quintron, The Buttons, Super Nice Brothers, Rabbit Hole, La Nuit Comedy Theater, 8:30
One Eyed Jacks Sam and Boone, Circle Bar, 6pm
Trombone Shorty & Orleans Ave., Tipitina’s Soul Rebels, Les Bon Temps Roule, 11pm
(Uptown), 10pm, $20 Stinging Caterpillar Soundsystem, All-Ways
Zydepunks, Happy Talk Band, Hi-Ho Lounge, Lounge
10pm Sweet Home New Orleans Presents: Summer
of R&B, Banks St. Bar & Grill, 8pm;
SUNDAY 11/1
FRIDAYS
Winter Circle Presents: Pnuma PA, Sage
Francis, Emancipator, One Eyed Jacks DJ Bees Knees, R Bar
DJ Kemistry, Metro
THEATRE Friday Night Music Camp, The Big Top, 5pm
God’s Been Drinking, La Nuit Comedy
“Finer Noble Gases,” All-Ways Lounge Theater, 8:30pm, $10
[Fridays, Saturdays and Sundays beginning 10/9 Jeremy Davenport, The Davenport Lounge @
and ending 10/25], 8pm, $5 Ritz-Carlton New Orleans
Jim O. and The Sporadic Fanatics, Circle,
WEEKLIES & DANCE NIGHTS 6pm
Open Mic Stand-Up, La Nuit Comedy Theater,
MONDAYS 10pm, $5
Ratty Scurvics Lounge, All-Ways Lounge
Blue Grass Pickin’ Party, Hi-Ho Lounge, 8pm Throwback, Republic
Glen David Andrews, d.b.a., 9pm Tipitina’s Foundation Free Friday!,
Juice’s Aron Lambert & CR Gruver Present: Tipitina’s, 10pm
Deuce!, Banks Street Bar & Grill, 9pm
Mad Mike, Checkpoint Charlie’s, 8pm SATURDAYS
Missy Meatlocker, Circle Bar, 5pm
Trivia Night, Circle Bar, 8pm Big Dick and The Jazzholes (1st & 3rd
Saturdays), Circle Bar, 6pm
TUESDAYS DJ Damion Yancy, Republic, 11pm
DJ Jive, LePhare
The Abney Effect, Hostel DJ Kemistry, Metro
Acoustic Open Mic, Carrollton Station, 9pm The Drive In w/ DJ Pasta, R Bar
Acoustic Open Mic w/ Jim Smith, Checkpoint Javier Drada, Hostel
Charlie’s, 10pm Jeremy Davenport, The Davenport Lounge @
Big, Fat & Delicious’ Funky Rotating Ritz-Carlton New Orleans
Reggae Party, Banks Street Bar & Grill, 10pm, John Boutte’, d.b.a., 7pm
FREE Ladies Night, The Hangar
Cottenmouth Kings of New Orleans, d.b.a., Morella and The Wheels of If (2nd
9pm Saturdays), Circle Bar, 6pm
Open Mic w/ Whiskey T., Rusty Nail, 8pm
The Tom Paines, Circle Bar, 6pm SUNDAYS

WEDNESDAYS Acoustic Open Mic w/ Jim Smith, Checkpoint

Charlie’s, 7pm
DJ Lefty Parker, R Bar Attrition, Dragon’s Den (Upstairs), 10pm
DJ T-Roy Presents: Dancehall Classics, Cajun Fais Do Do f/ Bruce Danigerpoint,
Dragon’s Den, 10pm, $5 Tipitina’s, 5:30pm, $7
Gravity A, Banks St. Bar and Grill, 10pm Drink N Draw, Circle Bar, 3pm
Jim O. and The No Shows, Circle Bar, 6pm Latin Dance Nite w/ Los Pinginos, Banks St.
Kenny Holiday and the Rolling Blackouts, Bar and Grill
Checkpoint Charlie’s, 9pm Linnzi Zaorski, d.b.a., 6pm
Marygoround & The Tiptoe Stampede, All- Micah McKee and Friends w/ Food by
Ways Lounge Bryan, Circle Bar, 6pm
Mojotoro Tango Trio, Yuki (525 Frenchmen Music Workshop Series, Tipitina’s, 12:30pm
St.), 8pm The Palmetto Bug Stompers, d.b.a., 6pm
Standup Comedy Open Mic, Carrollton The Sunday Gospel Brunch, House Of Blues
Station, 9pm
Tin Men, d.b.a., 7pm

antigravitymagazine.com_33
 COMICS

34_antigravity: your new orleans music and culture alternative

COMICS

antigravitymagazine.com_35
 PHOTOS

36_antigravity: your new orleans music and culture alternative

PHOTOS

antigravitymagazine.com_37
 CROSSWORD
14. Somnambulist
16. Italian slang word, meaning “fake”

Down

1. Sean “Puffy” Combs protege, performer of the hit song

“Bad Boys”
2. Covington, LA source for quality German-style beer
3. A cool place to store your bribe money
4. “That’s what I love about these high school girls, man ..
I get older, they stay the same age.”
6. The craziest, and probably only Israeli rock n’ roll band
you know of
8. Spooky computer from 2001
9. Country full of Viking descendants, hard-hit in the
current financial crisis
10. Pugilist
13. Baphomet, Beelzebub, & Azazel
15. Lucky New Orleanians can listen to this 100% privately
run, DJ-powered oldies station

CREATED BY J. YUENGER 5. Topic

7. French-Indian nickname for Louisiana’s Governor
Across Kerlerec
11. Well-loved and famously tragic New Orleans metal
1. “ It’s a _____, the way you mess around with my heart “ band
4. Whiny query 12. Masticator

REVIEWS, CONTINUED FROM PAGE 27...

NATHEN MAXWELL Right.” They also put to record one of the best debut releases in recent delivery and gift for intensely detailed tales that keeps his drug
memory and show no signs of slowing any time soon. Their new EP, kingpin raps from spilling over into cliché. The production here
& THE ORIGINAL Higher than the Stars, finds the group more comfortable and confident, is suitably retro without sounding tired, eschewing the futurism
BUNNY GANG but no less cute as they check their propulsive rocking tendencies for a or minimalism of modern hip-hop for a dusty sound doused in
WHITE RABBIT breezier, more melodic set this time around. Four original songs and laid back grooves and brassy loops. In stark contrast, everything
(SIDE ONE DUMMY) one remix make up this new offering and its only downside is that about Jay-Z’s The Blueprint 3 screams deliberate modernism. Jay-
it is not a full-length release. I have read, in this magazine, a formal Z himself even points out his intentions on “Off That,” where he
U pon hearing that the bassist from
Irish punk band Flogging Molly
was making a solo record, my mind
complaint addressed regarding The Pains’ debut and the credibility of
this band, but I simply don’t get it. Out of all the stupid fucking music
intros “Welcome… to… the future,” while Timbaland whoops and
snickers over a kraut-rock beat. Everything about the sound of The
being churned out today, why should one of the most honest and fun Blueprint 3 is ice cold, from Kanye’s synthetic haze over “What We
went to heavy, dark places. After
bands around be called into question? The Pains have done no wrong Talkin’ About” to Jay’s uber-relaxed flow. Instead of struggling for
all, this is man who once said, in a droll deadpan, that his favorite
thus far, but rather quite the opposite, and appear to be in the clear years, Jay has been at the top of the world, coming out of retirement
current tunes included “anything that is a soulless sucker of Satan’s
command of their own futurity—another joy of a record, to say the only because he got tired of swimming in his money bin like Scrooge
pecker.” His compositions for Flogging Molly have always been the
least. —Dan Mitchell McDuck, and what the record lacks in fire or invigorating wordplay
hardest, the fastest and the most aggressive of their catalog. Color.
it has in coked out iciness. It would be ridiculous to expect Jay-Z
Me. Wrong. Dead wrong. Maxwell has paired with his father, an
accomplished drummer in his own right, to record nearly a dozen RAEKWON to act like the millions he’s made becoming a cultural icon didn’t
ONLY BUILT 4 CUBAN affect him. Those expecting tracks about drug dealing and street
intimate, reggae-tinged surf rock songs. Take a healthy dose of Bob
LINX 2 hustling might stop cold at “Empire State of Mind,” which recasts
Marley worship, combine it with a dash of Jack Johnson and add a
(ICEAL) NYC, not as the scene of drive-bys and back alley deals, but as a
splash of latter day Clash and you’ve got the idea. Some of the songs
are meandering regurgitations of reggae standards (“Love Outlaw,” JAY-Z rejuvenating, sentimental ’burg. The problem the record runs into
THE BLUEPRINT 3 is in its inner confliction, complaining at one moment that hip-hop
“Chief Of A Nation” and “Stick To My Guns”) while some manage
(ROC NATION) has become too commercial, on “D.O.A (Death of Auto-Tune),”
to propel the listener rather effectively (“Working For The Man,”
then immediately sharing space with robo-voiced Rihanna on “Run
“Mijo” and “By Your Side”). I even found myself unable to avoid
the dreaded head bob on a few tracks. Tender odes to his lady and
his infant daughter ratchet up the emotional overtones and transform
F or the first time in hip-hop’s
history there’s a generation of elder
statesmen still active in the game. A
This Town.” The Blueprint 3 is a record made by a very wealthy man
still trying to be urgent, but is really just a semi-solid piece of rap
notoriously transitory culture, rap has without a core, ultimately a fitting sequel to the earlier Blueprints in
this bald, tattooed punk into a vulnerable singer-songwriter. The
no time for the passé, sprinting past that it’s a clear snapshot of where Jay-Z lies at this point. So, does
instrumentation is far stronger than the songwriting, but Maxwell’s
artists and styles before careers could Cuban Linx 2, with its gutter-level poetry and dark beats, account
vocals are robust and in places reminiscent of Bush frontman Gavin
be cemented. Now we finally have to more than The Blueprint 3’s glossy crowd appeal? I would say so,
Rossdale. The album’s strongest track, far and away, has to be “Salt
artists whose careers have stretched but not by as much as some purists might argue—the genre can fit
and Sand,” with its vaguely Flogging Molly–esque intro and crisp
past flavor of the year. It’s interesting both styles underneath its tent, both plastic hip-hop and pyrex rap.
concertina. He should take a cue from that. While it’s understandable
to compare two such MCs and how —Mike Rodgers
that Maxwell wants to pay homage to his idols, he’d be much better
off leaning a bit more Clash and little less Marley. Otherwise he their differing circumstances add up
could be treading into dangerously cheesy territory. —Erin Hall

THE PAINS OF BEING

to wildly divergent new records and
approaches. The Blueprint 3 and Only
Built for Cuban Linx 2, despite their similarities (both are sequels to
NEXT MONTH IN
PURE AT HEART
HIGHER THAN THE STARS
(SLUMBERLAND)
seminal NYC rap classics), are case studies in opposition. First up
is Raekwon’s long-delayed follow up to the first Cuban Linx. It’s
been a tumultuous few years for The Wu Tang Clan and the group
ANTIGRAVITY:
released a record marred by inner turmoil. Thankfully, Raekwon
MIRLITON FESTIVAL
T he Pains of Being Pure at Heart is
just about the cutest band out there.
They look cute and they sound cute.
has managed to reclaim the fire and dense, literate flow that
highlighted his earlier, best work. Cuban Linx 2 is a thickly layered,
grimy crime rap manifesto, a storyteller’s record. The Chef spits a
They named their fucking band The casual if urgent flow of engrossing description, detailing every facet
THE NEW ORLEANS BOOKFAIR
Pains of Being Pure at Heart—can it of a drug operation, from the relentless hustle of the street over
get any cuter? They sing about things like making love in the back seat
of your mother’s car and they name their songs “This Love is Fucking
the dinosaur stomp of “House of Flying Daggers” to the hushed,
crack-cooking love song of “Pyrex Vision.” It’s Raekwon’s versatile
MORE!

38_antigravity: your new orleans music and culture alternative