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					  vol.4 no.10 aug ‘07




                         your new orleans music and culture alternative




                                           BRINGING THE PARTY BACK:

                                           GIRL TALK
                                           MOWS HIS PARENTS’ LAWN
                                           WHILE CHANGING POP MUSIC




                                       ALSO: THE FENS’ PETER ORR I ZACK SMITH
                                       THE ROCK ART CIRCUS I THE ZYDEPUNKS
                                       STRANGE’S LAST NOTE FROM LA VISTA


www.antigravitymagazine.com                                             FREE!
PHOTO BY MANTARAY PHOTOGRAPHY
  vol.4 no.10 aug ‘07




                                                                                                          your table of contents



                                                                                                Zack Smith brings
                                                                                                his brand of portraits to
                                                                                                the Big Top_page 12




ON THE COVER:                                                                          FEATURE REVEW:
Girl Talk_page 14                                                                      Zydepunks_page 17
Gregg Gillis spills on what he’s up to since he’s quit his day job, what he goes for   Christian does the Exile Waltz
when making a party record and what his parents like best about Night Ripper

                                                                                       REVIEWS:
FEATURES:
                                                                                       Books_page 18
Peter Orr_page 10                                                                      The Book of Chameleons, What is the What
“Sneaky” Pete talks about his history with N.O. press and stage presence
                                                                                       Comics_page 19
The Rock Art Circus_page 16                                                            Criminal, White Picket Fences, Queen & Country
504 Whatstyle’s annual menagerie of music and art is back once again
                                                                                       Films_page 20
                                                                                       Rescue Dawn
COLUMNS:                                                                               Music_page 21
ANTI-News_page 4                                                                       Albums by: Beastie Boys, J-Dilla, the Smashing Pumpkins,
Some of the news that’s fit to print                                                    Queens of the Stone Age, the White Stripes...
The Goods_page 5
Online DIY networks                                                                    EVENTS:
Live New Orleans_page 6                                                                Listings_page 23
Reviews of the Polyphonic Spree, the Police and Ratzinger                              Suggested events
Notes From La Vista_page 7
Savor the last time Patrick filters his L.A./N.O. disconnect                            COMICS:
Saint Nick_page 8
QB issues and some training camp battles to watch out for                              Illustrations_page 26
                                                                                       Qomix, How To Be Happy, The K Chronicles,
Sound Advice_page 9                                                                    The Perry Bible Fellowship, Load
Can you pilfer photos from Google for your band’s album?
                                         INTRO
STAFF                                    letter from your editor
 Publisher/Editor-in-Chief:
 Leo McGovern
 leo@antigravitymagazine.com
                                                                   W      ell, summer’s REALLY almost
                                                                          over now. You can tell that Fall is
                                                                  on its way when umpteen million shows
                                                                                                                Strange has been chronicling his stay in Los Angeles for the
                                                                                                                past few months, and while he didn’t head out West with the
                                                                                                                intention to stay there, something happened that would make
 Associate Editor:                                                get announced for everywhere between          any freelance writer spin on their heels—he was offered an
 Patrick Strange                                                  September and January, plus everyone          editorial position with FILTER magazine. AG is always proud
 patrick@antigravitymagazine.com                                  starts getting psyched for the Voodoo         to see its people head up to the big leagues, and we’re happy
 Senior Writer:                                                   Music Experience. Look no farther than        to have contributed, just a little bit, to Patrick’s ascent. This
 Dan Fox                                                          the list in the below news section to         doesn’t mean that you’ll never again see the Strange byline in
 fox@antigravitymagazine.com                                      see what’s on tap, and get it in your         these pages, and we’re already looking forward to collaborating
 Contributing Writers:                                            mind now: you’ll be visting the AG tent       once more with someone who has given us so much. Congrats,
 Henry Alpert                                                     at Voodoo—it’s your civic duty.               Patrick—you deserve it, and good luck. Check out the last
  halpert@yahoo.com                         So, with so many great shows on the horizon, you’d think the        Note From La Vista on page 7, and look for FILTER to get a bit
 Andrew Bizer                            AG offices would be buzzing with excitement. It is, but there’s         Stranger over the next couple months.
  andrew@bizerlaw.com
 Liz Countryman                          a bit of the sad/happy thing going on, as we’re losing a longtime         Now, on to this issue. We’re whetting our palette and getting
  liz@antigravitymagazine.com            team member to bigger and better things. Patrick Strange has           ready for a busy Autumn with the Fens’ Peter Orr, Zack Smith’s
 Marty Garner                            been with AG since May of 2005—you may remember him                    portrait series None A Stranger, 504 Whatstyle’s annual Rock
  marty@antigravitymagazine.com
                                         bursting onto the scene by interviewing Iron & Wine for our            Art Circus and Girl Talk, the one man mixtape. As always, we’ve
 Lisa Haviland
  haves34@hotmail.com                    July 2005 cover story—and has been as integral as anyone to            got a slew of columns, reviews and general whatnot, so go get
 Mike Rodgers                            this magazine’s evolution. As you loyal readers already know,          into it already, wouldn’t you?
  mikerodgers@antigravitymagazine.com
 Nicholas Simmons
  simmons@antigravitymagazine.com


                                         COLUMN
 Jason Songe
  jasonsonge@antigravitymagazine.com
 J.W. Spitalny
  jw@antigravitymagazine.com
 Wesley Swinnen
  wesley@statictelevision.com
                                         anti-news and views
 Mallory Whitfield                        NOTABLE UPCOMING SHOWS                                                 FEEDBACK’S NICE…WHEN WE UNDERSTAND IT
  mallory@antigravitymagazine.com        9/15: Gallagher, Howlin’ Wolf                                          Over to your left we state that “we like stuff,” and we always
 Inside Cover Photo:                     9/15: Meat Puppets, One Eyed Jacks                                     encourage people to send in their feedback on the magazine,
 Leo McGovern                            9/16: Indigo Girls, Tipitina’s Uptown                                  good or bad, or just send random things they think we’d like.
 leo@antigravitymagazine.com
                                         9/17: Magnolia Electric Co., Drakkar Sauna, Howlin’ Wolf               Every once in awhile, though, we get something like this:
 Intern:                                 9/18: Arctic Monkeys, House Of Blues
 Gino Prodan                             9/19: Tesla, House Of Blues
 gino@antigravitymagazine.com
                                         9/20: VH1 Hip-Hop Honors Tour w/ the Roots, Big Daddy
 Ad Sales:                                     Kane, MC Lyte, House Of Blues
  ads@antigravitymagazine.com
  504-881-7508                           9/21: Provoked w/ Henry Rollins, House Of Blues
                                         9/23: Interpol, The Sugar Mill
                                         9/27: Do Make Say Think, Chelsea’s
                                         9/29: High on Fire, Mono, Panthers, One Eyed Jacks
 We like stuff! Send it to:              10/4: Rilo Kiley, Republic
  131 South Scott St.                    10/6: Bonde Do Role, Spanish Moon
 New Orleans, La. 70119                  10/11: The Watson Twins, House Of Blues
                                         10/12: Giant Bear, Dragon’s Den
ANTIGRAVITY is a free publication        10/26-28: Voodoo Music Experience, City Park
released monthly (around the 1st, like
a gub’ment check) in New Orleans         10/30: Hank III, Nashville Pussy, Reverend Horton Heat,
and Baton Rouge, as well as online.              House Of Blues
  ANTIGRAVITY is a publication of        10/31: The New Pornographers, Emma Pollock, Immaculate
         ANTIGRAVITY, INC.                       Machine, House Of Blues
                                         11/01: Of Montreal, Grand Buffet, House Of Blues
RESOURCES:                               11/08: Lyrics Born, The Parish @ House Of Blues
           Homepage:                     11/10: Tegan and Sara, Northern State, House Of Blues
  www.antigravitymagazine.com            11/13: Aesop Rock, The Parish @ House Of Blues
             MySpace:
        www.myspace.com/                 PUNKS RELEASE DATE SET FOR AUGUST 29TH
        antigravitymagazine              Speaking of Punks, at the end of last month’s interview with           We get the Alfred Hitchcock/North by Northwest-ending-at-Mount
                                         artist Kody Chamberlain we stated that the comic would be              Rushmore reference, but “North by Northworst,” we’re stumped
                                         released either in late July or early August. In an e-mail to Punks’   by. Is Anonymous saying that AG is the worst? That Punks (last
                                         fans, writer Josh Fialkov announced that Digital Webbing, the          month’s cover story) is the worst comic? Does he/she think it
                                         book’s publisher, has set a release date of August 29th for the        was in bad taste to use the Punks’ images on Mount Rushmore?
                                         long-awaited summer special. Grab a copy of Punks at one of
                                         your local comic shops.                                                EFF-UPS OF THE MONTH
                                                                                                                Maybe that July heat got to us, or something, because we made a
                                         CURIOUS MYSPACE COMMENT OF THE MONTH                                   couple egregious errors in last month’s issue. First off, we didn’t
                                         Left on the AG Myspace account, from “DUSTIN CROPS:”                   change the issue number on the cover. Even though the month
                                                                                                                is correct, the issue’s listed as #8 when it should be #9. To make
                                         “Burn yer “indie” collection!”                                         matters worse it’s correctly listed at #9 in the table of contents.
                                                                                                                Our second mistake was in “Saint Nick.” Nicholas Simmons
                                         DUSTIN, what would you like a copy of? While giving away               brings up the time ex-Saint Kyle Turley tossed the helmet of
                                         burned copies of albums may be a bit unethical, we’d love              Jets defensive back Damien Robinson—everyone remembers
                                         to turn you on to some stuff we’ve got laying around the               that, right? Well, it happened in 2002, not “200X.” “X” is the
                                         apartment. Drop us a line with your address and we’ll send             placeholder that’s supposed to make us double check a fact and
                                         you a mixtape.                                                         we flat out missed it. You love us anyway, right?



04_antigravity: your new orleans music and culture alternative
COLUMN
fashion
THE GOODS
DIY KILLED THE VIDEO STAR
by miss malaprop mallory@antigravitymagazine.com


D
          IY culture has hit the mainstream. Just look to the phenomenon of YouTube
          as a prime example of how everyone from high school kids to soccer moms
          are taking the do-it-yourself approach with just about everything these
days, including what we watch and how we watch it.
   There are two new user-created networks on the scene that I’ve got to say I’m
absolutely addicted to. The first is the Threadbanger Network, which airs my new
favorite video podcast, Thread Heads. Thread Heads is a weekly show about DIY
fashion where hosts Rob and Corinne will show you how to turn your old clothes
into something completely new. They’ll teach you some basics, such as how to
sew a button or how to alter a too-big shirt to fit, plus skills like quick-and-dirty
screen-printing and punk rock tie-dye. You can also learn everything from how to
turn a boring t-shirt into a brand new bikini to how to craft a pair of overalls from
old jeans. In addition to their crafty how-tos, which are suitable for both guys and
girls of all skill levels, they also feature interviews with independent designers such
as Rebecca Turbow and take you on trips all over the indie fashion world, including
to the recent Renegade Craft Fair in Brooklyn and Maker Faire in San Francisco as
well as the offices of the magazine ReadyMade.
   The whole thing got started when Rob and Corinne were introduced to the people
at NextNewNetworks, which produces Jet Set Show, a pop culture podcast for
young adults, and Indy Mogul, a network dedicated to amateur filmmakers. Rob had
worked previously for AOL’s online teen channel, interviewing punk rock bands. He
later went on a cross-country tour with Corinne in a bus run on recycled vegetable
oil, educating folks across the U.S. about sustainability and conscious consumerism.
Their experiences paid off when NextNewNetworks chose them to produce a new
network, an online channel dedicated to people who make their own fashion.
   Not only do Rob and Corinne actually make all of the projects in their how-to
segments, they also write, direct, film, edit and produce everything about the show
themselves. It’s a very rewarding process for both of them. Corinne says that her
favorite part about doing the show is that it inspires others to make stuff: “I love
when people send in pictures and videos of the stuff they’ve made using a lesson
we’ve featured or something they’ve come up with on their own. It is really exciting
to see people doing stuff for themselves versus buying from a corporation that only
cares about making money.”
   All of the lessons featured on Threadbanger are the result of viewer questions.
After receiving a question, Rob and Corinne do some research and try to figure
out the best DIY way to craft the project and answer the question. Fans are
encouraged to participate by posting comments and questions on the site and in
the Threadbanger forums, as well as by sending in their own videos and projects.
The team recently did an entire viewer appreciation show dedicated to projects
proposed and created by their fans.
   Right now, Thread Heads and the team’s other weekly segment, How-to Tuesdays,
are only available to view online, via both YouTube and their own website at www.
threadbanger.com. However, with the rise of cable television networks like Current
TV, we could be seeing shows like Thread Heads on our TV screens in the near
future.
   Current TV is made up primarily of user-chosen and user-created content. It’s
sort of like someone took the best of YouTube, threw in some celebrities and
MTV-style hosts to present it and then made an entire cable channel out of it.
Current TV’s programming consists of a series of different “pods,” which are short
one-to-eight minute videos profiling stories, characters, ideas, and information. On
one recent afternoon I watched a mini-documentary about Columbians who make
cocaine for a living, a satirical cartoon about Hollywood and the new Transformers
movie, a sneak peek into the London offices of Last.fm, and a film about a New York
artist who puts his laser-etched designs on just about anything (including his friend’s
Macbook). There’s a pretty wide variety of topics aired on Current TV, so if one
story bores you, you only have to wait a few minutes to see something completely
different.
   Much like Threadbanger, Current TV also encourages viewer participation
through their website at www.current.tv. There you can view user-submitted videos
and vote for which ones you think are ready for television and which films still need
some work. And if you’re an aspiring filmmaker, or just someone with a camera and
an interesting story to tell, you can upload your own video pods.
   With user-created and chosen content now filling the airwaves, there’s no room
to complain about never having anything good to watch. Whether you’re a DIY
filmmaker or just a fan, these two new networks are not to be missed.
 FOR MORE MISS MALAPROP, GO TO:


    antigravity: your new orleans music and culture alternative_                     05
 COLUMN
 local music
 LIVE NEW ORLEANS
 REVIEWS, REVIEWS, REVIEWS II
 by jason songe jason@liveneworleans.com
  Polyphonic Spree, House Of Blues (6/26)
  I learned a lesson at the House of Blues—I learned that there’s no point in putting half your
  heart into a Polyphonic Spree show. If you’re not going all in, you might as well not be there.
  Polyphonic Spree put on a very participatory show full of handclapping and encouraged
  shouting of lyrics, and since I wasn’t on the floor and close to the crowd energy, I felt
  awkward. And it made me feel, “Well, if I’m not giving everything back at every concert I go
  to, then what’s the point?” So, I got kicked in the ass, and it felt great.
      The Polyphonic Spree put on an awesome show full of confetti and onstage dancing
  and a harp and a horn section and chimes and a harmonium, and more. They were on,
  smiles abounding, seemingly amazed at the monstrous sound they could create. There were
  twelve musicians onstage, not counting the six-person choir. They were all dressed in black
  uniforms adorned with red here and there. They played exuberant indie pop that seemed a
  simplistic response to the complexities of life. For example, taking a moment to appreciate
  the fact that we have a sun. The music seemed to be a purposeful attempt to be positive
  when it’s naturally easier to be negative.
      For the encore, the group changed into white robes and walked to the stage through the
  crowd. The audience had been pretty lackluster up to this point, for some reason. Seems
  like most didn’t know the music and just showed up because they were told of the amount
  of people in the group or that it was going to be a spectacle or whatnot. Anyway, the first
  song was a cover of Nirvana’s “Lithium,” and this was where the crowd went nuts and really
  came alive and finally starting singing together.
  The Police, New Orleans Arena (6/30)
  I had a ticket for a seat high behind the stage, which I was worried about until I saw the
  circular layout and realized I was right behind Stewart Copeland’s set. It was also cool to be
  able to look through binoculars and see Sting and Andy Summers’ many guitar pedals and
  the scrolling prompters at their feet. Sting had lyrics rolling, while Summers cheated from
  outlines of each song (i.e. where the solos are and when they improv).
     I missed the opening band on purpose. It was Sting’s son’s band. To think of all the huge,
  awesome bands that you could still justify as being small enough to open for the Police and
  we get some band no one’s ever heard of. Sounds like a stipulation of the contract.
     Before I get into the music, I want to say that the stage and lights were super high-end.
  It makes sense that they went all out, but light columns that look like palm trees that rise
  behind the stage for only one song? That’s over the top.
     The band played pretty well, and the crowd was into it, though they seemed a bit reserved.
  Most of the people in the balcony sat down, and would it surprise you the middle-aged white
  audience wasn’t into playing call and response to Sting’s African and Reggae-influenced chants?
  They wanted the hits, which they got. The only song I missed was “Synchronicity I.”
     The band seemed in good spirits, and they seemed to enjoy the show, but it’s not like
  they put their life on the line or anything. The only person who looked like he wasn’t
  taking the safe road to the bank was Copeland, who couldn’t hide his energy. Every time
  he stood up from his kit, he didn’t know what to do with himself. He had a whole bunch of
  percussion with him—timpanis, xylophone (which was cool to watch him play, considering
  Jason Marsalis was sitting right behind me the whole night), chimes, etc…
     I had forgotten that Summers could even solo, so when he did I was surprised but I wish
  his solos were more compact and melodic. It was like he was just throwing notes in there
  without any thought for progression or the chorus. I’ve got to hand it to him for doing some
  dramatic jumps, though. He’s sixty-four.
     The band played a few songs a little slower than I remember, but they also
  extended some into some cool improvs. The songs won, in the end. Just to hear
  those songs live, I’ve got to give the thumbs up to the Poilce. They didn’t have
  to blow anyone out of the water at this show, they just had to not screw it up.
  Ratzinger, Circle Bar (7/06)
  It’s good to have a theme. Just ask the White Stripes. Though it’s superficial, you never hear
  anyone complaining about Jack and Meg’s color scheme. Why? Maybe because there’s beauty
  in simplicity, or maybe just because people just like themes. The reasoning being, there are
  enough run-of-the-mill rock bands out there, so give us something that is restrictive but, in
  turn, interesting.
      Local punk band Ratzinger (the name of the current Pope) wear all white, sing about the
  “sign of the cross” and “holy rock and rollers,” along with selling rosaries at their shows.
  They’ve got the market cornered on that whole former Catholic schoolboy thing. I think.
      Ratzinger rocked. This was my first time seeing them, and the duo of guitar/vocalist Chris
  and drummer/vocalist Nick were a revelation, sort of how Antenna Inn and Metronome the
  City have also been, recently. Like, they’re doing something very different from everything else
  around here and they’re doing it well. The band was just so loud, ferocious and unrelenting.
  They took turns screaming, about what I’m not really sure, but it didn’t matter. It’s great to
  be at a rock show where the band is willing to put their bodies and souls into the music. After
  they climbed on the mantle a few times and threw themselves around without worry, I really
  thought I was going to see blood. Instead, the band got naked, which was the only other place
  they could have gone at that point. The whole thing was chaotic, a bit dangerous and fun.
      Am I leaving the music out? The music was great. I couldn’t have gotten so much out of the
  show if the music wasn’t pushing me along to that better point.


06_antigravity: your new orleans music and culture alternative
COLUMN
commentary
NOTE FROM LA VISTA
LEAVING LA
by patrick strange patrick@antigravitymagazine.com


 A
          s I fly home from Los Angeles in the sticky part of July, I look forward
          to that hot, humid New Orleans air that smacks you right in the
          groin the moment you step off the plane. Over the last four months,
 I’ve experienced several new but not-so-pleasant sensations—mostly of the
 epidermal kind—as results of Los Angeles’ desert clime: the itchy scalp and
 elbows, the dry hands, the obligatory nose peel. On a crammed Southwest
 flight, wedged between a family of oxen and a horse of a woman who just won’t
 shut up, I dream of open spaces, but of those that carry the weight of a muggy
 atmosphere.
    But when I finally get coughed out of the packed cabin and land on the
 elevated skyway, the air is quite mild, really. Not humid at all. Did I, in a fit of
 panicky judgment, board the wrong flight to Atlanta or Memphis by mistake?
    Nope. I’m home. There’s that airport bar called Pampy’s with the plastic
 magnolia leaves and cardboard cutouts of trumpets and trombones.
    Damn, I’m still so in love with this place.
    Coming home is always a visceral experience, especially when your home
 is New Orleans, where seeing is feeling and just about everyone is a bona
 fide sensualist. It’s a place chocked-full with tangible, tactile signs of life and
 loss like the grit beneath your toenails. But a place where Katrina still wreaks
 havoc…the longest running hurricane in history.
    Since I’ve been home, I’ve challenged myself to commit every detail to
 memory; to document every odor and sound to my mental inventory. It’s one
 of those rare instances when I become aware of the importance of an event
 while it’s happening instead of long afterwards. So I tell myself, “Sit still. Look
 hard. Please, just for once, remember something forever.”
    Because, you see, I never meant to fly home at all. It was supposed to be a
 long drive across the Southwest with stops in Gallup and Dallas. I was supposed
 to be coming back for good, but things changed, rapidly. Now I’m not staying
 in New Orleans for long at all. I’m going back to Los Angeles. I’m moving. I’ve
 been offered a job there doing something I love. I’m going to get an apartment
 and I’m going to buy silverware. I’m going to get a bed, maybe even fabric
 softener and a set of tea candles and potpourri.
    Knowing I’m not here to stay, when I see things and people it takes on extra
 meaning…and brings added satisfaction. I’ve even managed to make a couple
 of new friends since I’ve been back, which is saying something. It took me
 over two months in L.A. to make even an acquaintance. It speaks to what’s
 wonderful about home. It speaks volumes about what I like about myself when
 I’m here. I guess I just feel that I’m easier to get to know. I’m not so suspicious
 of everything.
    While I was away, I was comparing a lot of what’s wrong and right in L.A.
 to what’s wrong and right in New Orleans. But it’s all about the people, isn’t
 it? I mean, why would we ever stay in one place if it wasn’t for those that are
 keeping us to it? It’s so obvious, but it’s so true. And I’ve been lucky enough
 to have met some of the most creative, honest and remarkably genuine people
 on the face of the Earth. I share Everette Maddox’s sentiments when it comes
 to my New Orleans chums. They are, without a doubt, the “Mike Tysons of
 friendship.”
    All the drooping lamp posts, Creole cottages and soaked banana leaves in the
 world wouldn’t come to diddly without this being a city of people. And that’s
 what I realize when I tromp around trying not to let it show that I’m scared
 as hell of leaving, scared as hell of following something that can’t ever really
 love me back. I couldn’t care less about what color they paint the roof of the
 Superdome or whether or not they make a sidewalk out of bricks or cement at
 the foot of Canal. On some level, it is really just a total waste of time—all this
 preoccupation on appearances.
    So, this being my final column, I’ll just end by sending my gratitude to all the
 people that make life livable and that make this city, despite all the anguish and
 anger and despair, the sexiest damn city on this side of the Atlantic. You know
 who you are. And when I think of the selfless and downright daring work that
 you do every single day, no matter if the streets are flooded or your hearts’
 shattered to dust, I know once and for all that I’ve always needed you much
 more than you ever needed me.




     antigravity: your new orleans music and culture alternative_                      07
 COLUMN
 sports
 SAINT NICK
 NOT OUR (QB) PROBLEM
 by nicholas simmons simmons@antigravitymagazine.com


 T
        his magazine, one year ago this month, boldly predicted that your New Orleans Saints
        were, in fact, going to the playoffs. That boldness came more from a feeling that things
        were going to fall into place for the Saints than actual knowledge of the team being
 on the precipice of a Super Bowl berth. We won’t be as bold this year—most teams that
 make the worst-to-first jump take a step back the following season. If they’re truly good they
 rebound and the window for continued dominance opens. That’s not to say that the Saints
 can’t have another 10-6 (or better) season, especially considering that every other NFC South
 team has issues at quarterback, but for the first time since 2001 the Saints are going into a
 season expecting to get to the playoffs and are a hot media pick for the Super Bowl. It’s to
 the point where if the Saints don’t return to the NFC Championship game, or if they do get
 there but lose, the 2007 season will be considered a failure. Personally, if the team continues
 to play entertaining football and doesn’t commit stupid mental mistakes (think back to two
 years ago: would anyone have believed the Saints’ defense could ever cover the screen pass?
 I recently watched an replay of the Saints/Eagles playoff game, and I still found myself smiling
 when Jeff Garcia dumped a screen pass to Brian Westbrook and it went for just four yards) I’ll
 be happy—if they can beat the aforementioned step back (and they can do it), I’ll be thrilled.

 NFC SOUTH QB SITUATIONS AND A LOOK AHEAD
 The Falcons are amid their worst nightmare, as at press time it looks like Michael Vick’s
 federal indictment on dogfighting charges will leave former 1st round bust QB Joey Harrington
 as the starter. The odd thing is that Atlanta’s offense may be better off without Vick. While the
 word from Falcons camp had Vick eating up new coach Bobby Petrino’s playbook, one theory
 on why Atlanta’s offense could never quite run on all cylinders has Vick’s sub-par accuracy to
 blame. Vick, who many call “the most dynamic player in the NFL,” had just a 52.6% completion
 percentage in 2006 and owns a paltry 53.8% rate for his career. Have all of Atlanta’s receivers
 since 2001 been poor, or does Vick need to shoulder a bit of the blame? If the Falcons receiving
 corps simply needs a more traditional, less run-it-himself passer to thrive, Harrington could
 actually be the answer. The Detroit Lions castoff completed 57.5% of his passes, and while
 that’s not close to the magical 63% most coaches like to see, it’s much closer than Vick’s. Can
 Harrington and new Falcons wideout Joe Horn form a dangerous tandem in the mayhem Vick
 leaves the team in? We’ll see.
    The Buccaneers’ likely starter at QB is Jeff Garcia, whom the Saints beat twice in ‘06
 when he was with the Eagles. Tampa coach Jon Gruden seems to be compiling some twisted,
 pseudo-wish list of QBs: Garcia’s competing with former starters Chris Simms and Bruce
 Gradkowski (last season’s starter following Simms’ ruptured spleen); Gruden would still love
 Jake Plummer, added in a trade with the Broncos, to come out of retirement and compete in
 training camp, and the team has talked with Daunte Culpepper, recently released by Miami.
 With the Buccaneers vaunted-but-aging defense a year older, and only former Colts LB Cato
 June added in the offseason, they should be hard-pressed to stop the potent Saints offense.
    The most likely thorn in the Saints’ side is the Panthers, with their RB tandem of DeAngelo
 Williams and DeShaun Foster and with their defense, which features DE Julius Peppers, LB
 Thomas Davis and CB Chris Gamble. Carolina’s biggest hurdle is at QB, where Jake Delhomme
 is starting to feel the pressure of not taking the team on a return trip to the Super Bowl. With
 free agent addition David Carr backing up Delhomme, coach John Fox won’t hesitate to make
 a change if Delhomme doesn’t light up the first few teams on their schedule. Settling their QB
 situation, whether it’s by Delhomme playing at a Pro Bowl level early or by giving their offense
 a chance to spark behind Carr, will be crucial to their season. It’ll be interesting to see who’ll
 be at QB for the Panthers when they visit the Superdome in Week 5.
    Hey Saints fans, isn’t it nice to go into a season with some confidence in our quarterback?

 CAMP BATTLES TO WATCH
 Quickly, a couple of training camp battles for positions that could very well determine how
 well the Saints’ D does this season: At cornerback opposite Mike McKenzie, watch out for
 Jason David vs. Jason Craft vs. Fred Thomas. The expected winner is David, but Craft
 is supposedly in great shape and in a good position to fight for some extra playing time while
 Thomas would like nothing more than to bounce back from a subpar and nicked-up ’06. We
 say David gets the nod, if for no other reason that it’d be extremely difficult to go through
 sixteen games and get fewer interceptions than Craft and Thomas have combined for over
 the past couple years. At middle linebacker is Mark Simoneau vs. Brian Simmons.
 Simmons, the free agent addition from the Bengals, is the assumed winner, but Simoneau has
 a full year under coordinator Gary Gibbs’ defense and could hold off Simmons until a few
 games into the season, at least. If you’re wondering why brand new addition Dhani Jones isn’t
 included in that battle, here’s why: Jones is a versatile and valuable backup player but isn’t quite
 as strong against the run that Simoneau and Simmons can be. Jones will get on the field, just
 not as a starter.

 HORNETS HAVE A NEW RADIO HOME
 The Hornets radio broadcast has moved from 1280am to 102.9fm for the ’07 season and
 beyond. The broadcast team remains the same, with Sean Kelley on play-by-play, Russ
 Eisenstein as studio host, and the much-missed former afternoon sports radio know-it-all
 Gerry Vaillancourt as the color guy. Maybe now that the Hornets have left 1280, the V-Man can
 hit the afternoon airwaves again. Which local station will man up and hire this guy already?



08_antigravity: your new orleans music and culture alternative
COLUMN
legalese
SOUND ADVICE
COPYRIGHT AND PHOTOSHOP
by andrew bizer andrew@bizerlaw.com
 Dear Andrew,

 I’m working on the artwork for my new CD, and I’m using Photoshop to make a collage of
 images I’ve found on the internet. Is it all right for me to use these images outright? Or are
 they protected by copyright law? Do I have to buy the photos to put them on my CD? What
 if I alter the photos? If I change them enough, do I still have to buy them?

 Thanks,

 Summer S.

 Summer,

    Before I can answer your question, you should understand how copyright law
 applies to your situation. Copyright protection is granted to original works of
 authorship. Such works must be fixed in a tangible medium. Therefore, any photo
 you see on the internet or in a book or magazine has automatically been granted
 copyright protection. You don’t need to buy the photo you want to use for the
 cover of your CD, rather you need to obtain a license to use the photo on your CD.
 For example, you can purchase a coffee table book containing the photos by Annie
 Liebowitz, but that doesn’t mean you can use those photos for whatever you want.
 However, if you saw a photo in that book, you could contact Annie Liebowitz (or
 whoever owns the copyright for her photos) and request a license to use the photo
 for the album cover. There is no set rate for using a photo for a CD cover. The
 dollar amount is negotiated between the licensor (the owner of the photo) and the
 licensee (the person who wants to use the photo for their CD).
    You also asked about altering the photo. Unfortunately for you, even if you alter a
 photo, you still need to get a license. United States copyright law grants the exclusive
 right to prepare derivative works to the copyright owner. A derivative work is
 defined as “a work based upon one or more preexisting works, such as a translation,
 musical arrangement, dramatization, fictionalization, motion picture version, sound
 recording, art reproduction, abridgment, condensation, or any other form in which a
 work may be recast, transformed, or adapted.”
    In your case, it’s pretty clear-cut that by copying photo and altering it, you are
 creating a derivative work, which you cannot do without obtaining a license from the
 copyright owner. Therefore, you have two options: try to obtain a license from the
 owner of the photo or find a new photo that is in the public domain. (Of course,
 you also have a third option, but I would never recommend that you use the photo
 without a license and hope that you do not get caught. That is a bad idea. Although
 it seems like some bands like Pavement have done this multiple times without any
 problems.)
    As I’ve explained in a previous column, a work in the public domain is a creative
 work that is not protected by copyright and which may be freely used by everyone.
 Creative works end up in the public domain either when their copyright protection
 expires or when their owner freely relinquishes ownership of their works. And,
 actually, there are plenty of authors and photographers who are happy to share their
 creations and don’t mind others using their works outright, or making derivative
 works. A quick Google search for “public domain photos” will come up with various
 sites where you can find photos.
    Finally, you shouldn’t be afraid to contact the photographer to ask for permission
 to use the photo. They might be flattered that you like their photo and want to put
 it on the cover of your CD. They might grant you a license for free or they might
 not, but you won’t know until you ask.

 Best,
 Andrew Bizer



 Andrew Bizer, Esq. is an attorney admitted to practice in Louisiana and New York. He
 is currently an associate at Kanner and Whiteley, L.L.C. He previously served as the
 Manager of Legal and Business Affairs at EMI Music Publishing and has worked in the legal
 department at both Matador and Universal/Motown Records. This column is to be used
 as a reference tool. The answers given to these questions are short and are not intended
 to constitute full and complete legal advice. The answers given here do not constitute an
 attorney/client relationship. Mr. Bizer is not your attorney. But if you want him to be your
 attorney, feel free to contact him at andrew@bizerlaw.com. Or, just email him a question
 and he’ll answer it in next month’s ANTIGRAVITY.
        NEED SOME SOUND ADVICE? SEND YOUR QUESTIONS TO:
                    ANDREW@BIZERLAW.COM


   antigravity: your new orleans music and culture alternative_                                   09
 FEATURE
 music
 THE FENS’ “SNEAKY” PETE ORR TALKS ABOUT
 TRICKING THE N.O. MEDIA AND STAGE SHTICK
 by jason songe jason@liveneworleans.com                                    photo by theo eliezer


   I
        made a mistake. Thinking he was talking about the gained kind and not the born-with-it type, when Peter Orr said he didn’t have talent I said, “Well, I wouldn’t say...”
        and barely even argued with him. This was where he cut me off and clarified that, though he didn’t have any natural musical talent, he had gotten to where he was
        through hard work. And this was also where, embarrassed, my face went red. After the interview at his Bywater home was finished he nonchalantly asked, like an
        afterthought, like a Columbo “just one more thing,” if I wouldn’t mind sticking around to hear him play some mandolin. Then he broke out the Bach, and I mean he
   really broke out the Bach. He was moving from chords to free notes to chords back to free notes with such dexterity and, man, you wouldn’t believe how well that stuff
   translates to the mandolin. But that’s not the point. The point is that whether he was trying to teach me a lesson or not, I felt schooled, because when I questioned Orr’s
   ability I obviously wasn’t listening hard enough to catch the subtleties and flourishes of musical ability that I later recognized in the music of the Fens, Orr’s bluegrass,
   country and folk group of ten years. I was more interested in the effortless and masterful way in which he told a funny story with his lyrics, but to my credit, along with
   Chris Champagne, Orr is one of the funniest men in New Orleans, so maybe I should be forgiven?
       In person, Orr is fiercely and intimidatingly intelligent, so it makes sense his dark wit is biting and unrelenting onstage. Thankfully, he’s able to shine some light on shitty
   memories by also being silly, irreverent and self-deprecating, while pulling no punches. There’s no comforting wink. Pete is pissed, two reasons being that his friends act like
   enemies and New Orleans can be a hell hole (he was singing about this before Katrina). Though the band can play uptempo ditties, their dour side is what you’re most likely to
   get. And when those maladjusted and perverse lyrics mix with that bitter and hopeless music, the Fens can be pretty potent. As Orr said in our interview, people don’t plan or
   seek out a depressing night of music. Still, though, after the crowd has had a few drinks and the band is hitting their stride of painting ambivalent emotional landscapes, which
   is normally around the middle of their set, an extended moment will occur where the instrumental sections elongate, the mood becomes more defined and, as a result, people
   are caught off guard and let the band steer them through the mire, their sadness. And they enjoy doing it. And this is what keeps bringing Orr back to the gigs—that connection.




10_antigravity: your new orleans music and culture alternative
FEATURE
music
ANTIGRAVITY: It seems like when you’re                               same material he had before, and I wrote a new bio with a             with it you can start thinking about how you’re coming across,
onstage, more than other performers, you thrive                      bunch of bullshit about stuff that had happened in England            because you’re not going to learn how to do it sitting in your
on the audience interaction.                                         and riots at his shows...                                             house thinking about it. Here’s another thing that helped me
Peter Orr: I think I’m more used to it than most other               AG: [Laughs] Riots at Mike West shows!                                with my interaction with the audience: I went through some
performers.                                                          PO: He was like, “I don’t know about this!” I said, “You’re           severe personal changes in 1998 and wound up drinking myself
AG: How long did it take you to get comfortable                      going acoustic now, to get away from all the madness and the          stupid, constantly. I weighed, like, 230 pounds. I quit my other
doing it?                                                            craziness at the raves.” Mike West has never been to a rave.          jobs—it was very irresponsible but I couldn’t be bothered to
PO: It was several years. I had stage presence to start with. I      He’ll tell you so himself.                                            do anything but play music because I loved playing music. I
started off playing in bands in New York, and that’s one of the      AG: Did people buy it?                                                became a doorman at Margaritaville, and this is when a lot of
things they judge you on, because nobody works. No band              PO: Yeah. We got him into the three outlets he was trying to          people around here started to meet me. I’d been living here
actually works there. Every band in New York sits around and         get into: the Times Picayune, Gambit...                               five years, but I had been married and stayed home all the
talks about their stage presence and their career strategy...        AG: Did they ask, “What’s up with these raves?”                       time. Now suddenly I lived in the bars and had a job that gave
AG: But they don’t play?                                             PO: No, they just took it as truth. You’ll still see things           me a break between drinks for eight hours a day. At that point,
PO: No. When they do play, it’s for whatever friends they            written about him, especially in New Orleans, because they            Margaritaville had three bands a day, so I would see a minimum
can rope in. This is what it was like when I was there (the          go back and look at the old stories that talk about him at            of three bands a day. There were bands that were frequently
mid ‘80s). In New York, you’re competing with the best of            raves in Manchester, England. He’s never been high, even on           inappropriate and the manager didn’t have time to watch the
everything from all over the world. It’s this big loud ding. I was   marijuana. He’s got nothing to do with drugs, wants nothing           bands, so it was up to me to pick the ones that worked and the
in a band that was successful, from my point of view—a band          to do it, but at that point people wanted to hear about raves.        ones that didn’t. I had to watch a bunch of bands that I didn’t
that managed to get people to come and see us that we didn’t         “He’s putting that behind him.” He was very pleased, and              particularly like. That’s how you learn to do things, from my
have to get our friends to come out for. It was centered in          then his bass player left for the summer. He said, “Don’t you         experience. Not watching bands that you like, because when
Queens and we actually admitted it, which was unusual for a          play electric bass?” I said yes and started playing with him. His     you see a band that you like, all that you get out of that is,
New York band at the time.                                           bass player never came back and it didn’t dawn on me until            “Oh, I want to imitate them.” That’s not helping. It’s much
AG: Really?                                                          October, because we were working so much. I must have                 better to see a band that you don’t like, and if you’re forced
PO: Oh yeah. In New York you didn’t admit you were from              done twenty-five hundred shows with him total. I remember              to stay there say, “What don’t I like about this?” See the way
Queens if you were in a band because the prejudice against it        one time calling him and being angry because he had given             he’s talking to the audience and he thinks he’s being funny?
was so intense at that point.                                        me the dates for the next month and he had only booked                He looks like a high school kid on the last night of the play.
AG: Why were they prejudiced?                                        fifteen dates.                                                         Fuck this. Look at the bass player. He’s in the back trying to
PO: It was chauvinism. You’re stuck next to Manhattan, and           AG: You’re angry with him because he only booked                      act moody and cool and instead comes off like a cornhole.
Manhattan is something everyone in the whole world knows             fifteen shows?                                                         Standing in front of people at this point is the most natural


  “I couldn’t be bothered to do anything but play music...”
about. It’s like being from Chalmette down here, but much            PO: I remember specifically saying to him, “Look, I don’t have         thing I can do, I’ve done it so many times under extraordinary
worse because you’ll give a Chalmette band a chance, I think.        time for a hobby.”                                                    circumstances.
New York wouldn’t at that time. It was ridiculous. We made           AG: [Laughs] Did he think you were crazy?                             AG: If you’re planning what to say between songs,
no bones about it. New York was an easy place to get a lot           PO: No, he was like, “We’ll work,” because he had been in             are you aware of the lounge singer vibe?
of radio play because there were lots of college stations, and       England almost as long as he had been in New York, where              PO: Yeah, that’s the thing. I can go on autopilot and I’ve
almost all of them would play some kind of local music, so           it’s unheard of to get four gigs a month. Two gigs a month            done this in front of rooms of people that I don’t have all this
we actually had chart action on local radio. We were called          was a big deal. It was really hard. The bands that make it, that      interaction with. There are times when I’m like, “These people
the Concrete Witch Doctors. We took our inspiration from             you think of as New York bands, they lived in a truck. The            aren’t interested, the contact isn’t happening,” so I’ll just go
a band called the Birthday Party (which is fitting, because the       Cramps, the Comateens, the Velvet Underground, they lived             on autopilot. I’ll say the same things. There are a lot of things
Birthday Party faced xenophobia as they came from Australia          out on the road. In fact, the Velvet Underground, when they           I repeat, like when I’m explaining what “Ninth Ward Doo
and tried to play in British clubs).                                 were still the Velvet Underground, did not gig in New York            Wop” is, or anything about the tip jar is at least a variation
AG: That blew my ears off the first time I heard it.                  at all. They gigged on the road. They didn’t want to gig in           on something I’ve said before. I don’t plan what I say. It’s just
I was like, “What the hell...”                                       New York, because then you’re just one more thing—”Oh,                easier and easier to go on autopilot. I’m always looking to play
PO: You first hear it and you don’t like it.                          the Rolling Stones are playing down the block.” It was hard.          for a room full of strangers. I’m always looking for a room full
AG: No, I actually did like it because I had already                 I’m not saying they turned their noses up at New York, it’s           of people who haven’t seen me before. People who come back
gone through all the grunge and was getting into                     just hard to make a living there. There’s always other stuff in       can sense that and forgive that they’re hearing something for
the post-grunge kind of thing, and then you go                       the way. Apparently, this changed for the singer-songwriter           the second or third time.
back in time to the Birthday Party and realize                       types that started moving there in the mid ‘90s, after I moved        AG: Do you expect people to come back?
how much more raw it is.                                             away. But getting back to what I was saying—I played with             PO: You can’t count on it. For what we do, a little goes a
PO: Oh, yeah. I started listening to them when they were still       Mike West so much that, at first, I was exerting all this energy       long way. For most people, if they catch a good Fens set, they
together. I was insulted the first time I heard them because          with my “stage presence”...                                           don’t go, “Oh, we’ve got to see them again next week.” I don’t
I had two different people recommend them to me in a day             AG: You were kind of the gregarious one.                              know why that is. Earlier this year we had five weekly gigs,
and one of them said, “You should listen to this group the           PO: That was later. I’m talking about in ‘93, ‘94, ‘95. We played     and the only people we were counting on seeing was the staff.
Birthday Party. You look like the singer.” She wasn’t talking        so much that I got really comfortable being in front of people        You’ve got to win the staff over one way or another. It doesn’t
about my facial features. She was talking about the overall          and forgot all about this stage presence horseshit. And when          matter if the staff doesn’t like your music. If they like you,
aura of health I exuded at that time. We had some of the             Myshkin left and we were a two-piece, we were starting to             they’ll come put up with whatever your music is. With a place
same hobbies. This is Nick Cave before he was handsome.              know how you’re supposed to be onstage and how you’re                 that really fits for us, we have really intimate relationships
This guy that looks like he’s going to die before they do            not. Mike is this incredibly shy guy who would not be telling         with the bartenders. When we were really good at playing
another album. The first time I heard it I was like, “I don’t like    jokes if he didn’t have to. In fact, most of the jokes that he        at Margaritaville, the manager used to let us have a specific
this at all.” You don’t just turn it off. You hear GG Allin—         would repeat, better than half of them were things that I made        bartender that was in on the act.
”Oh, fuck, turn it off.” You hear the Birthday Party—the             up. He didn’t want to do it, but anything to get money out of         AG: Really!
first thing that went through my mind was, “They could play           these people and into the tip jar. It’s part of the job. Instead of   PO: Yeah. He would do solos on the beerphonium, all the
a lot better than this. They don’t have to sound this bad.”          sitting around thinking about yourself and how you seem and           beers that are lined up in the wooden rack. He played them
Someone loaned it to me and I went back and told him, “This          all these things that you can’t control...                            like a xylophone with his keys, and when we would do “Hot
is the worst record I’ve ever heard.” He said, “Why aren’t           AG: I’m a working musician, I need the money,                         Nuts,” where there was room for solos, he would play and
you giving it back to me?” “Because I wanna listen to it some        and I’ve got to...                                                    the audience would look over. There were parts of the show
more.” I was fascinated with them and especially liked that          PO: Absolutely. I still see bands struggle when they come out.        where we would say things and he would throw stuff at us from
they broke up for aesthetic reasons. To get back to your             Bands that don’t have a lot of experience playing, you can            behind the bar. All kinds of stuff he’d know what to do.
question, back then, I was really hammy and craved attention,        see the people in the band trying to exude, wanting to come
and when I got down here and started playing music in front          across this way or that way. The thing that you’re trying to                              Tuesday, 8/14
of people, I was hammy and thought out what I would say              emulate is something that you’ve got to be born with. Some
                                                                                                                                                                    The Fens
first, and probably practiced what I would say between songs.         people are just natural. They stand there and come across
Then I was doing press for a guy called Mike West (the               this way or that way because their face looks like this or                Circle Bar, 1032 St. Charles Ave., (504) 588-2616,
former local bluegrass musician that now lives in Kansas),           whatever. Some people have this other kind of talent, but if
                                                                                                                                                        For more info on the Fens, go to:
and nobody would write about him. He was playing at True             you’re just a guy playing guitar chances are you better just
Brew and he wanted to get better shows. He gave me the               learn to stand there and do it, and once you get comfortable                           www.binkyrecords.com



                                                                                                                 antigravity: your new orleans music and culture alternative_                            11
 FEATURE
 photography
 DON’T BE A STRANGER: ZACK SMITH REVEALS
 HOW TO CRAFT THE PERFECT PORTRAIT
 interview and photo (pg. 12) by leo mcgovern leo@antigravitymagazine.com




                                T
                                          hings you may know about Zack Smith: he’s the drummer of one
                                          of New Orleans’ best-known rock bands, Rotary Downs; he’s a
                                          photographer and a frequent contributor of not only ANTIGRAVITY
                                          but publications such as Relix, Rolling Stone, Alternative Press and
                                URB. Things you may not know about Zack Smith: he lived on the streets
                                of Montana for four months early in ‘00s while learning his craft; he also
                                takes pictures of people who aren’t musicians. In late 2006, URB published
                                a series of Smith’s photos chronicling several New Orleans-inspired post-
                                Katrina tattoos, and that series is a stepping stone towards the Big Top’s
                                August-long gallery showing of the lensman’s portraits, None A Stranger.
                                Stranger features fifty-three photos, some of people you may regularly
                                drink coffee with at the Rue, some of people you may see while drinking a
                                beer at your favorite bar, and some of people from Smith’s eccentric jaunts
                                around the country. To commemorate his first gallery showing since 2004,
                                ANTIGRAVITY sat down with Smith to talk about how he’s managed to
                                snap so many photos of local bands, how he got to New Orleans and what
                                he wants people to walk away with from Stranger.



                                 (Clockwise from top left: Zack Smith, Zack Smith, Zack Smith, Zack Smith and Zack Smith)


12_antigravity: your new orleans music and culture alternative
FEATURE
photography
ANTIGRAVITY: How’d you learn photography?                             was time to turn the page and show the city I’ve been working          ZS: The guy’s like, “Oh, I used to work with CBS news in the
Zack Smith: In 2000, I took a photography workshop in                 in what I’ve been up to. It’s over fifty-three portraits, probably      ‘60s, blah blah blah.” She pulls out this photo, and he says,
Montana after two years of getting by on what I taught myself         half from 2006 or 2007.                                                “We’re reenactors, we reenact the Civil War.” She doesn’t
about the camera—I didn’t know what I was doing. I would go           AG: While putting the show together, did you                           say a word, just holds the picture out. The picture is of them
to a job sweating because I was so nervous and freaked out. I         recognize any themes that you didn’t realize were                      thirty years ago, reenacting some Civil War battle. I could do
realized that trial and error was cool because you could learn        there?                                                                 a show just on Missoula characters.
things you wouldn’t learn in the classroom, but it’s not cool         ZS: I’m hypercritical of my work, but I realized everyone’s got        AG: What about the ones with Gatemouth Brown?
in a business sense. This class in Montana was a four-month           their mouth closed. I wondered how that happened, whether
summer intensive, basically how to do the lights, work the            it was something I was doing. I realized they were telling me
camera. I was like, “Yeah, whatever.” Then this fiery lady who         more with their eyes than their mouth—I look in their eyes
commands attention comes in to teach alternative processes            and realize that that’s what I’m going for. Everything else is just
in the darkroom, Victoria Ryan, and she’s from New Orleans.           baggage. The eyes are the stairway to the soul. I’m trying to
She and I hit it off right away. When I got home to Lafayette I       get honesty, and it’s got nothing to do with their body or face,
knew I was going to move to New Orleans. I was sleeping on            it’s all in the eyes.
my cousin’s couch, and I called her up, looking for a job. She        AG: What do you feel makes the best portrait?
gave me a job as the manager of the darkroom at the Fine Art          ZS: Gotta have film in the camera.
Academy. I still have that job today. I teach four classes at the     AG: [Laughs] If it’s not an intricate, predetermined
Academy, digital and nighttime photography.                           pose or something, what makes a good portrait
AG: Why’d you move to New Orleans after that?                         happen?
ZS: My aunt used to own a shop around Chartres and St. Ann.           ZS: Vibe, man, vibe. If you’re in a zone—a lot of times, I don’t
Your typical New Orleans junk shop, now that I look back at it.       direct much. I tend to try and read their vibe—if they get in
All the little Aunt Jemima things, coasters with Café Du Monde        front of the camera and sort of just put their hands on their
on it, all local cats’ stuff. My dad would bring us down to visit     hips, I take the picture, but I direct in the sense of trying to get   ZS: This was probably one of the last shoots he did before he
her—she lived in Metairie—and we’d stay with her and drive in         someone in their comfort zone.                                         died. I was on an assignment for Relix, and they warned me
to her shop. We’d sit on the stoop and see the most amazing           AG: Let’s talk about some people whose portraits                       about how much of a curmudgeon he was, that he wouldn’t
characters walk into her place. I was probably eight years old, and   in the show. What’s this picture about?                                be nice to me. He was dying of cancer. I went to his house,
Ruthie the Duck Lady was around, the Bean Lady who’d pass out         ZS: I’m sure you’ve seen kids like this around town, around            and everyone there’s startled, like they don’t know what I’m
beans and stuff…they’d just walk into the shop and collect their      the projects or in lower income parts of the city, that are            doing there. He walks out in his pajamas. I was like, what do


                         “The eyes are the stairway to the soul.”
money—they made little stitch dolls or whatever. Just sitting on                                                                             I do? I said who I was, and he looks at me and says, “Give me
the stoop and seeing this play go by, like these people had been                                                                             a second.” Two minutes pass and he comes out, shirt tucked
rehearsing all their lives and right when you sit out, they’d roll.                                                                          into his tight pants, belt buckle, hat, and the most smoking
AG: Where are some of odder spots you’ve taken                                                                                               pipe I’ve ever seen. All in two minutes, like fucking Superman.
portraits?                                                                                                                                   We had a great shoot—he was real tired but he gave me
ZS: I set up a light on Sauvage and Grant Route St. John, where                                                                              everything I wanted.
the big exit for Jazz Fest is. I’d shoot portraits of people, and                                                                            AG: Why do None A Stranger at the Big Top?
they’d be looking in their pockets for money. I’d say, hey, no                                                                               ZS: Some of the first people I met in New Orleans was Kirah
money, I’ll shoot your picture and send it to you but I’m going                                                                              (Haubrich), Tracy (Kennan) and Adele (Borie), who own and run
to use it for something in the future.                                                                                                       the Big Top—they were doing shows in people’s living rooms, in
AG: What are people’s reactions when they’re                                                                                                 the front of a restaurant, clothing stores or whatnot. My work
thrust in front of a camera like that?                                                                                                       at that time wasn’t that good, but they wanted to show it and
ZS: Put a camera in someone’s face, and it’s [Snaps] instant                                                                                 started showing it in group shows around town. Regardless of
reaction. They either recoil or go crazy in front of it. You                                                                                 where I was from, they wanted to show it. To this day, if I have
don’t put a camera in someone’s face and they stay the same—                                                                                 something important to show, I show it with them. Plus, I always
that’s rare. It’s those kinds of things I like to find out. What can                                                                          enjoy the vibe of a non-gallery setting because I want people
I do to capture what makes you tick.                                  dressed straight out of a Thomas Dolby video, or early ‘80s            relaxed. People who go to galleries may have money, and that’s
AG: What do you think draws you to the bands                          Mtv shit. Erik Kiesewetter and I were at a second line right           good and all, but there’s something about going somewhere to
you’ve shot? What makes you appealing to so                           after Katrina, turkey necks and High Lifes and shit, and all of        hang out and combining my friends with people who want to
many bands that want you to photograph them?                          a sudden, out of a sea of baggy jeans and ‘hood wear, were             collect my stuff. It makes for a better environment.
ZS: [Laughs] It’s a couple things, probably. Playing music live       these kids walking like they owned LaSalle St. We went up              AG: What do you want people to walk away from
is like holding onto a cut power cord, and you’re holding             to them and said, “You guys look fucking great. Can we take            your showing with?
together the two parts. Being there, between the bands,               your picture?” No shitting, the girls leaned back on the house         ZS: I want people to walk away with my photos.
anybody who loves live music—to see something beyond                  and the dude struck that pose, and we took one picture and             AG: [Laughs]
what they’re playing, that enticed me right away. I’m guessing        that’s it.                                                             ZS: Man, this is such a risk for me. It’s a complete one hundred-
that my initial zest for being there got people interested.           AG: The people in this photo don’t look like                           and-eighty degree turn from my live music stuff. These are
After years of mostly shooting live music, I started moving           they’re from New Orleans. Who are they?                                people that people are going to come into the show and
towards shooting people, and it’s mainly due to working with          ZS: That’s one of my earliest portraits, taken almost eight years      recognize. People will be like, “I know this person, I know this
Herman Leonard, who shot Dizzie Gellespie, Billie Holiday,            ago. For about a year I worked from 3am-1am in Lafayette               place.” If they don’t know that person, they’ll be looking them
Miles Davis’ boys…he shot their live stuff, but he also created       for a year. I was a graphics operator for a morning television         right in the eyes and getting something from them they didn’t
these amazing, intimate portraits of them. He’d shoot behind          show from 3-noon, I coached my high school cross country               previously have before they walked in. I want them to see
the scenes but get a part of the musician that you really love        team until 6 and waited tables at Semolina’s until midnight. I did     the people around them, meet these people. My portraits are
on stage yet hadn’t seen before. I was his lighting assistant for     that for a year, every day, to raise money to get to Montana.          very simple, there’s not a lot of whiz, bam, David LaChappelle
two years. Seeing the way he worked with people really fueled         I get there, and I’m homeless. This one guy and I squatted this        shit going on. It’s these people looking at you from their own
my curiosity of figuring out who people were. I’ve been playing        shack—bought a lock for the door and dumpstered food for               comfortable environment. When I look at them, I feel like this
music since I was fifteen years old, so I have another rapport         three months (they double back shit out there). These are some         person right on their couch, right on their comfort zone. It
with musicians. Instead of shooting them just performing on           of the street characters in Missoula. Something’s a little wrong,      brings me away with a sense of calm, and it’s okay that their
stage, I wanted to know about them as a person off the stage.         they’re a little…                                                      mouths are closed.
AG: What’s the overall theme of None A                                AG: Tapped?
Stranger?                                                             ZS: Yeah, a bit. I saw her on the street one day, playing                                   Saturday, 8/4
ZS: Since I’ve been in New Orleans I’ve been big on the live          with this dog, and she looked exactly like the dog, the hair,                      Zack Smith’s None A Stranger opens,
music scene, shooting four or five nights out of the week, at          everything. I bent down to take a picture, and this was before
                                                                                                                                                      The Big Top, 1638 Clio St., (504) 569-2700,
the Dragon’s Den seeing Quintology or Klezmer All-Stars, or           I’d be like, “Hey, can I take your picture?” She freaked out.
                                                                                                                                                        www.3ringcircusproductions.com, 6pm
at Tips, where I became the house photographer. My live music         He comes running around the corner, yelling, “What are you
stuff was good, but there’s only so much to do on an artistic         doing?” Then he’s like, you’re a photographer?                                    For more info on Zack Smith, go to:
level. After Katrina, I realized I had a lot in common with all       AG: It looks like there’s a Confederate flag in the
                                                                                                                                                              www.zacksmith.com
those people I’d met over the past few years and I thought it         picture she’s holding.



                                                                                                                  antigravity: your new orleans music and culture alternative_                             13
 COVER FEATURE
 music
 GIRL TALK TALKS MASH-UPS, ACCESSIBILITY,
 NOISE AND MOWING HIS PARENTS’ LAWN
 by mike rodgers mike@antigravitymagazine.com



                                                                 P
                                                                          op radio is a fickle, ever-mutating beast. It
                                                                          births and discards trends faster than the
                                                                          majority of the populace can keep up, and
                                                                          from rap to rock to rap-rock, the charts are
                                                                 constantly shifting. Reflecting this diversity is one of
                                                                 the most unusual currents in modern radio play: the
                                                                 mash-up. The art of the mash-up is simple: clumsily
                                                                 glue together two chart toppers and watch the hilarity
                                                                 ensue. Bucking the one-off novelty of the form is Gregg
                                                                 Gillis, otherwise known as Girl Talk, whose version of
                                                                 the mash-up is more in line with an art school collage
                                                                 than a hokey cut and paste. His new album, Night
                                                                 Ripper, effortlessly crams twenty years of seemingly
                                                                 disparate hits into a frantic dance party. Culled from
                                                                 hundreds of sources, his tracks chop up samples at
                                                                 a breakneck rate, stringing together a fast-paced car
                                                                 crash of cut-ups and juxtapositions, blurring the line
                                                                 between Burroughs and the Black Eyed Peas. Night
                                                                 Ripper is a step further into the mainstream than his
                                                                 previous work, as it ditches some of the more abrasive
                                                                 sounds that betrayed his experimental roots and is
                                                                 planted firmly in the rock and hip-hop spotlight—a
                                                                 copped Nirvana riff might break away into a Notorious
                                                                 B.I.G. verse over “Tiny Dancer” piano chords, before
                                                                 giving way to Gwen Stefani or Weezer. David Banner
                                                                 sex rhymes over Nine Inch Nails riffs might seem a
                                                                 far cry from the Billboard Hot 100, but its undeniable
                                                                 catchiness and infectious magnetism distinguishes Girl
                                                                 Talk as a pop act in the purest sense. The relentless
                                                                 sample searching, the continuously changing nature of
                                                                 the music and the oftentimes oddball pairings change
                                                                 into art what could have remained an FM novelty. The
                                                                 sometimes alien combinations have a way of freeing up
                                                                 bits of music for reexamination, (it’s easy to look at a
                                                                 Ludicris verse in a new light when it’s mounted on a
                                                                 classic rock guitar), and freed from their baggage, some
                                                                 samples surprise with their freshness. From a musical
                                                                 background in a noise band, (Merzbow is cited as an
                                                                 early influence), Gillis approaches the construction of
                                                                 pop amalgamations from multiple perspectives. On the
                                                                 surface level, his drastically uptempo musical re-edits
                                                                 are the perfect fuel for a dance party—the high energy
                                                                 melding of familiar hits fires up even the staunchest
                                                                 hipster into full on rave mode. But beneath the glossy
                                                                 surface lies a deeper meaning—the reappropriation
                                                                 of pop music into something “cool” reflects a post-
                                                                 modern sensibility that’s there for anyone inclined to
                                                                 look. In a culture constantly feeding off its past ideas,
                                                                 Girl Talk’s Top 40 mosaics fit in perfectly, though Gillis
                                                                 will be the first to tell you that this deeper artistic
                                                                 meaning plays second fiddle to simply making a fun
                                                                 record that sounds good. ANTIGRAVITY talked with
                                                                 Greg Gillis about his views on his mix-ups as art, the
                                                                 importance of sound over message, how Night Ripper
                                                                 came to be and why quitting his day job has freed him
                                                                 up to work on his craft.



14_antigravity: your new orleans music and culture alternative
COVER FEATURE
music
ANTIGRAVITY: I’ve heard Night Ripper referred                       and packing things together as tightly as possible. I think a lot     hardcore about it and ran up to the front as soon as the gates
to as “a party in a can.” Did you set out to make                   of my fan base couldn’t care less about that, which is fine by         opened and were there for me. That was mind blowing; I
a party record?                                                     me. It’s an interesting thing to think about, originality within      didn’t expect that at all. Everyone was trying to have fun and
Girl Talk: When I made the album, I knew it was a fun record        music like this. I’m happy that people come up to me after            it was fun on different levels. Not in a crazy show way, but
but it was edited quickly and coming from my experimental           shows and talk about things like this. It’s really interesting to     like there were fifty of us hanging out at this giant pavilion
background I didn’t anticipate it being a dance record for          me but it’s definitely not something necessary for people to           together. With the end, with the girls puking and pissing, well,
people. It’s the type of record that you buy, listen to and once    get into it.                                                          that was an experience.
you know it you can dance to it. You can save your best move        AG: A subtext that you can get into if you want…                      AG: I read recently that you’ve quit your day
for the parts you like.                                             GT: Yeah, absolutely.                                                 job? Has that freed you up quite a bit to work on
AG: It seems more accessible than your previous                     AG: One of the things I like most about the record                    projects and your live shows?
albums, less aggressive pacing and weird samples.                   is how it recontextualizes things. The samples                        GT: I quit a bit ago, about a month and a half. It’s funny because
GT: I thought of this as the watered down record. The goal          are freed up from whatever baggage they might                         I can’t imagine how I was keeping up before that. I was working
was to keep the sound of Girl Talk, but it should be the            have gathered and you can hear them with fresh                        eight hours a day on stuff, and trying to keep weekend touring
accessible record.                                                  ears. Is that something you look for when you                         schedule just so I could work on music during the week. It’s
AG: What was the original idea to combine                           choose a sample?                                                      been cool, but it’s been a bit different than I expected it to be.
existing music and make something new out of it                     GT: Anything I sample is… the simplest criteria is whether I          Even with no job it seems like I’m working every day, but I
instead of going into the studio and working out                    like it. I listen to a lot of different styles of music, mainly pop   occupy the time doing other things. I’m actually at my parents’
your own sounds?                                                    music, but also more underground stuff. I sample bits of that,        house and I just cut the grass for the past two hours. [Laughs]
GT: When I was in high school I was in a noise band and             but you have to think, “Will people recognize this,” or “In           Things like that were not possible when I had a job.
was really interested in messing up other people’s music and        what context will they recognize it?” Luckily, these days I’m         AG: You’ll be touring with Dan Deacon in the near
making it into noise music. My high school band was doing           listening to a lot of radio music, which everyone knows and           future, right?
tape collages and skipping CDs, and once that band was over         that helps out the process a bit. Here and there I pick out riffs     GT: That’s going to be the first legitimate, playing-shows-
with I got a computer and started a band where I would do           that I know people won’t recognize, just because I think they         every-night tour that I’ve done in almost two or three years.
all sample-based music. I had been a fan of Negativeland, John      sound good, but other times I make it a point to have at least        AG: Who put this tour together? Was it a mutual
Oswald and Evolution Control Committee. People associate            a certain amount of recognizable things. Everyone listens to it       admiration thing or a management combination?
me with the DJ culture right now, but when I entered it I was       on different levels—my parents jam out to the record; they            GT: We’ve known each other for a while now, around four
into experimental stuff.                                            don’t know the rap lyrics, but they know the Hall and Oates           or five years. Dan tours relentlessly and I’ve been seeing him


“My parents jam out to [Night Ripper]; they don’t know the
rap lyrics, but they know the Hall and Oates samples.”
AG: It’s funny you mention tape collages because                    samples. There are a lot of young kids that don’t know almost         live in Pittsburgh for a long time and I was always a big fan
people often mention Girl Talk with the mash-up                     any of it, but they can tell what’s going on.                         of his. He was drawing maybe five to ten people every show
phenomenon and I always thought of it more as a                     AG: Is it more important to have people                               and it was always amazing. I wanted to see him in a packed
collage than a mash-up, that it wasn’t one or two                   understand the music than to just please                              show environment. This year, before his record came out,
things put together to make a novelty record but                    yourself?                                                             I got him on a number of shows and introduced him to his
there were so many pieces that it made this new                     GT: Everything I have to like, period, so I won’t sample something    current booking agent, so we’re both with the same guy now
thing instead.                                                      just because people will recognize it. As far as choosing what I      and we finally decided to do a full-blown tour. We both just
GT: That’s absolutely what I’ve been going for. There’s definitely   like better, it’s a tough call, especially with live sets. You just   come from similar backgrounds; we both have very interactive
a mash-up element to it—there’s no denying the vocals over          learn over time how things are going to be received.                  shows with the audience.
different instrumentals element is there, but mash-up is so         AG: How’s the tour been going for you?                                AG: What are the live shows like now? I know in
specific. Sound collage is something that’s existed forever.         GT: It’s good. I’ve kind of been touring for the past year            the early days there was a lot of showmanship:
I mean, is Public Enemy a mash-up band because they were            straight. I’ve been doing one-off shows, so the tour really           stripping down, dancing, etc…?
sampling and adding elements? It’s very confusing to me. Some       never started and never ended. I’ve been doing about two              GT: People come ready now. There are shows, like that
mash-ups I think are amazing, but it was never a big influence       shows a week for a year now, so it’s not too grueling, but I’m        Widespread Panic show, where I had to go back to my roots
compared to John Oswald. I didn’t want to make kitschy, one-        constantly doing shows.                                               and really entertain because people were just staring.
off things, just music that people could get down with.             AG: It’s just a routine now…                                          AG: They were ready for two hours of swaying…
AG: For me, that sentiment, and Night Ripper in                     GT: A bit. It’s weird—every show is pretty different and some         GT: [Laughs] Exactly! A lot of people who like my music
specific, reflects pop music in general. There’s                      weeks it’s very bizarre. I normally do Friday and Saturday            like rap music, dance music and go to clubs, but there’s this
the glossy, danceable surface but there’s also an                   shows almost every weekend, but last week I did a Wednesday           whole other world of people who don’t go out dancing that
art underneath that layer and I think taking it                     and Thursday show. That Wednesday show was me opening                 much but like the music. They’re saving it for two times a
apart and reintroducing it as something “new”                       up for that jam band Widespread Panic.                                year: a drunken wedding and a Girl Talk show—in that case
reinforces that idea.                                               AG: I was going to ask you about that.                                people are ready to unleash! To be into the music you have
GT: The ultimate surface level is almost what I’m going for,        GT: It’s funny because the next day I flew out to L.A. for this        to willing to drop your guard and not be fearful of opening
to make pop music. But then I’m also influenced by electronic        private party that was a Hollywood-type affair with legitimate        up. These people really go nuts. A good show is me hunched
producers like Squarepusher, where it’s all about quick editing     celebrities, so it was day and night between the two of them.         over the laptop trying to keep everything from falling apart.
                                                                    AG: How did that Widespread Panic show get set up?                    AG: It’s about you trying to react with the energy
                                                                    GT: I get a pretty wide variety of options, as far as things to       of the crowd.
                                                                    play. Show-wise, I get dance clubs, rock clubs. I think some of       GT: Exactly. There’s a certain amount of chaos that happens. I
                                                                    the people in the Widespread Panic crew just happened to see          think when the music stops; when the cord gets kicked people
                                                                    the show at Bonnaroo and got down with it. It’s funny to me           are officially losing it. It’s gone too far, which I think is a good
                                                                    that they would see me at Bonnaroo at midnight or something,          thing.
                                                                    in front of tons of people who want to see me, and think, “Oh
                                                                    that would go over well at 6:30 opening up for Widespread                                    Friday, 8/10
                                                                    Panic.” They offered it to me and I’ve always been a pusher of
                                                                    trying to have new experiences musically and not having these                                 Girl Talk,
                                                                    walls up in my mind as far as, “Oh, this isn’t my crowd,” so               The Spanish Moon, 1109 Highland Rd., (225) 383-
                                                                    I tried to test the limits of that. Then it went down really…                     MOON, www.thespanishmoon.com
                                                                    [Laughs] It was really weird!
                                                                    AG: How was the experience up until the last                                              Saturday, 8/11
                                                                    fifteen minutes?
                                                                    GT: It was cool! It was really nice to see, maybe, fifty hardcore                           Girl Talk, Impulss
                                                                    fans. It was super-early and still light out, the sound wasn’t the         One Eyed Jacks, 615 Toulouse St., (504) 569-8361,
                                                                    best, there were hundreds of feet of space around everyone                              www.oneeyedjacks.net
                                                                    and I think all that hurt it. Tickets were really overpriced and
                                                                    people kind of knew it wasn’t going to be a normal show,
                                                                                                                                                        For more info on Girl Talk, go to:
                                                                    but there were maybe fifty kids who were straight-up and                                   www.girl-talk.net



                                                                                                                antigravity: your new orleans music and culture alternative_                              15
 FEATURE
 music
 TALK IS CHEAP WITH L. STEVE WILLIAMS’
 ANNUAL 504 WHAT STYLE ROCK ART CIRCUS
 by dan fox fox@antigravitymagazine.com



 S
         teve “What Style” Williams gets
         the Lifetime Achievement Award
         for being punk in New Orleans. For
         decades now he’s been a steady
 force in the scene, a one-man media
 empire of shows, flyers, clothing, stickers,
 and even the occasional CD release.
 The years have not dulled his edge one
 bit and he continues his prolific output
 of visceral, eye-popping art. For several
 years he has showcased his and others’
 work during White Linen Night, offering
 up an invigorating alternative to the
 starched atmosphere of the “respectable”
 galleries. Since Katrina, Williams has taken                    in 1987—the second phase of the arts! I got to live in a
 his show to Labor Day weekend at the Big                        small surfer fishing town in southern England. I was hoping
 Top—this year’s show promises to be the                         to see some punk shows, but I was five to eight hours from
                                                                 London. So I learned how to surf. [Later] I was stationed
 most ambitious yet, with a range of artists                     in 29 Palms, California in the middle of the desert. I would
 both accomplished (like Vance Kelly and                         drive two hours to Riverside to see punk, goth, hardcore
                                                                 and ska bands. I would always give a kiss to Gwen [Stefani]
 Chris George) and some who are new                              of No Doubt! She brought all the ladies out when No Doubt
 to the medium. This is a great chance to                        played at Spanky’s Pizzeria in Riverside. I went to see Social
 see art created by people you might know                        Distortion whenever I could make it.
                                                                 AG: Of all the bands you’ve caricatured (Second
 from other endeavors, such as Hawg Jaw                          Hand, Skavengers, Suplecs, Hazard County Girls,
 vocalist Mike Dares and Suplecs’ Danny                          etc.) who is your favorite to draw?
                                                                 LSW: I started college and working and made Friends with
 Nick and Durel Yates. Suplecs will also                         Bill Timmons and Dan Gesclair, who introduced me to Carl
 be the night’s main musical act with a                          E. Elvers. We were into the same music and Carl E. did
 host of fire-breathers, oversized roaches,                       shows in his apartment on St. Andrew St. and I drew the
                                                                 flyers. At that time I saw this high school band called Second
 burlesque dancers, skeleton gangs and                           Hand who blew my mind when I saw them! They were on
 short films—should any of your synapses                          a punk label called Recess Records as teenagers! I drew up
                                                                 some stuff for them and it kept going. I worked with another
 find themselves idle. If Williams has his                        teen band called Hostel Effect then the Skavengers. They
 way, you’ll come out of his show inspired                       couldn’t get gigs in the clubs so I helped them get in to play.
                                                                 That is how the What Style part started along with the 504
 and ready to pull something straight out                        What Style Clothing. I always drew caricatures of the bands
 of your chest for the rest of the world to                      I worked for. The longest I must say is Suplecs—I’ve been
 see. As he says in the liner notes for his                      with them for seven years now. My favorite is the ladies of
                                                                 the Hazard County Girls—but Suplecs is my band.
 excellent 1998 compilation It Came From                         AG: That’s right, you’ve toured with Suplecs a
 504: “Talk is cheap... Create!!”                                bunch. Got any embarrassing stories?
                                                                 LSW: I was sick and we were leaving New Orleans to play
 ANTIGRAVITY: How did you get started making art?                Austin and the Doom Festival in San Antonio. Andy was
 L. Steve Williams: As long as I can remember I was drawing      driving and if you ever drive with a drummer—he is on the
 and creating. My parents were into rock and roll and the        kick drum. I was throwing up in a small garbage can in the van.
 arts and my grandfather could make anything, so I guess         It sucked! When we got to Texas I had a beer and felt better.
 it’s in my blood. The ‘70s pop art movement and rock and        On the Head Above Water Tour I almost attacked Danny
 roll helped keep me creating while things were changing all     when he was going into my backpack for the van keys. I was
 around me. Comics, music and KISS helped make me the            sleeping and my booby trap on the backpack went off and
 artist I am today. In the 6th grade I remember my mom let       woke me up and it was on! Danny does a good impression
 me do a KISS mural in my bedroom. It was almost a life size     of me for that incident.
 stage performance of KISS with all the pyro—it was killer! I    AG: What’s the Steve What Style evacuation                                   Saturday, 9/1
 drew every day and it helped me make friends when I went        plan?                                                                 504 What Style’s Rock Art Circus,
 to eight different schools in about four years until I got to   LSW: I hate evacuating! I did leave with my family Sunday
                                                                                                                                   The Big Top, 1638 Clio St., (504) 569-2700,
 high school.                                                    night before Katrina. We waited till the last minute. If you
 AG: You were in the Marines, too?                               don’t evacuate, here’s my top ten: guns and ammo, food,
                                                                                                                                     www.3ringcircusproductions.com, 6pm
 LSW: I was in my second semester of college, feeling lost       water, beer and ice, your lady, power tools charged, car          For more info on 504 Whatstyle, go to:
 and wanting more out of life. I wanted to box and wrestle       filled with gas, important papers and documents safe, flash
                                                                                                                                         www.504whatstyle.com
 in the Olympics and see the world, so I joined the Marines      lights and candles, and baby wipes.


16_antigravity: your new orleans music and culture alternative
FEATURE REVIEW
music


                                 C     onsidering the high
                                       energy of a Zydepunks
                                  performance      and    the
                                  effervescent dancing that
                                  comes with one, it should
be no surprise that the band’s third album, Exile Waltz,
pales in comparison to the experience of getting sweaty
and exhausted at the Dragon’s Den. Still, it serves as a
great document of the band’s strength, which is mixing a
seemingly endless number of folk styles, like klezmer, Cajun,
zydeco, Irish and French. Waltz features a few originals by
leader Christian Kuffner but mainly consists of standards
and covers, the best being a Dub Skelper song called “Big
Man Walking in the Rain.” The chorus melody is pridefully,
chest-inflatingly majestic, thus settting the song apart from
the rest of the album. Unless you have a natural affinity for
folk music, I’d recommend staying away from Exile Waltz. It
may be fine to blast at a party, but it doesn’t translate while
alone at a computer or in a car. It’s best to catch them live,
which is becoming easier to do—because of their growing
popularity and steadily solidifying status as veterans of the
scene, you can find them playing more venues and more
shows. —Jason Songe

ANTIGRAVITY: Where did you grow up? I
ask because it seems young New Orleanians                          (Clockwise from top left: Christian Kuffner, Eve, Denise Bonis, Joe Lilly, Paul Edmonds)
might be less open to the type of music you
play, whereas if you had grown up in Eunice or                    crowds to react compared to those in, say,                        For us, New Orleans shows are the best. We’ve grown
Mamou or Lafayette, your affinity for it would                     Lafayette?                                                        with the audiences here and developed a relationship with
have come more naturally. How were you first                       CK: Bands become veterans quickly, don’t they? I remember         the people who come see us. But we’ve had good shows
introduced to Cajun and zydeco music?                             back when the Morning 40 Federation started and you had a         from Los Angeles to New York and everything in between,
Christian Kuffner: I grew up in Virginia, in a German-speaking    feeling that at some point they became what you could call        playing folk festivals and all-ages hardcore shows. People
community and with Ecuadorian relatives in some nearby            an established local band. How long did that take? I think        dig the energy.
towns. I guess that already shows you that I had a lot of early   three years in a local scene with a decent following makes a      AG: My favorite song on the new album is “Big
mixed influences around me. A lot of the German kids were          veteran. We have good relationships with clubs and agents         Man Walking in the Rain.” How did you decide
recent arrivals and would play me German punk, Belgian            that wouldn’t touch us before. Having Katrina hit has made        to record that song, and how did you treat it
industrial, Polish thrash metal and other underground stuff       everyone work twice as hard. Respect has to be earned, and        differently than Dub Skelper did?
that even now would be really difficult to find.                    I’m thankful that people do open doors for you. There’s a lot     CK: Dub Skelper’s original recording featured a lot of
   I was visiting New Orleans and saw Mamou at Patout’s           of love from a lot of people that we couldn’t do without.         reverb, a dub instrumental section and a heavy Scottish
on Bourbon Street in 1995. They were a hybrid Cajun band,            We’ve never toured Europe before. We’ve had emails             accent, specifically an Ayrshire accent that’s even stronger
with a goth on the washboard and a guy with massive metal         from fans and clubs, but finally we hooked up with a booking       than most. Because I had a hard time understanding some of
hair playing either guitar or bass—I can’t remember. The          agent who’s taking care of the whole business side for us,        the words, I changed them to fit how I sing. I’ve talked to
music was so different, and I didn’t know anything about          which is really the only way to tour that far away. I have zero   them since then and they gave me the original lyrics, but I
Louisiana French culture, but I was immediately intrigued.        idea what to expect! In general, the Europeans who come           stuck with some of the ones I made up because it felt more
It’s one of the reasons I moved to Louisiana.                     and see us in New Orleans really get into it, so I’m hoping       natural to me by then.
AG: What’s your artistic goal for the band?                       for good times.                                                   AG: When you’re writing original songs, what
Considering all the languages you know and                        AG: I envision you at some point or another                       styles do you find yourself drawing from the
the different instruments you’re attempting                       being surprised that people take to the eclectic                  most?
to learn, I’d guess you’re still on the lookout                   and unconventional music you play as well as                      CK: You know, it can be so many things. On one song on
for more folk styles to mix into your music. Is                   they do. Does it just come down to the fact that                  the recording we’re doing right now I can see Iron Maiden-
this a good assumption? Is there any end to the                   people want to dance, or do you feel that they                    style melodies, a rock steady beat, a medieval German time
number and combination of folk musics?                            want to also connect to the culture of the music                  signature, a French folk music chord progression, Breton/
CK: For a while it was an obsession for me to research            as well?                                                          French melody and rhythm, lyrics inspired by a book about
different folk traditions, the more obscure the better.           CK: People connect strongly if they are tied to the culture       political violence and a neighbor being murdered, and your
Though I still do this for my own pleasure, at some point         in some way. In towns like Houma and Beaumont, we’ve              basic rock and roll arrangement with verse, bridge and
it started feeling gimmicky, so the quest is on to write and      gotten really emotional responses, even people singing            chorus. With that in mind, I can say a combination of punk,
perform original music. Exile Waltz is really a reflection of      along in French to songs they grew up with. I can remember        metal, Cajun/zydeco and European folk. It’s not like we pick
older material, folk standards and folk music covers that we      a woman in Asheville almost brought to tears when we              specific styles for writing original songs anymore. We want it
started with. Even the original songs on it are very much in      sang one of the Yiddish numbers we do. Another Jewish             to sound like our own. Earlier original stuff definitely sounds
a Cajun/zydeco idiom, which a lot of our newer material is        girl jumped up on stage with us to sing in Hebrew. It’s           like, okay, this is Cajun, or this is Irish. We’re basing how we
not. The next album, which we’re already recording, will          a beautiful thing with folk music, because for people who         write a lot around how we play together and how everyone
contain all originals songs except for one.                       grow up with it, it has a powerful presence. Generations          in the band plays.
AG: Weird as it might be, I’m starting to think                   of ancestors singing and playing songs and passing them on
of the Zydepunks as veterans on the scene.                        to following generations gives them a lot of meaning. In                              Saturday, 8/25
Do you find that as time goes on you’re given                      some places it can take some time to warm up a crowd.
more respect or that more (venue) doors are                       People look at you and you can see that they’re trying to                     The Zydepunks release Exile Waltz,
opened to you? You’re a very hard-working                         understand what the hell you’re doing. Sometimes people              Dragon’s Den, 435 Esplanade Ave., (504) 949-1750,
group, and as a result it seems you’re getting                    will love a sound that is exotic to them, and eventually                      www.myspace.com/dragonsdennola
more opportunities, the main example being                        the passionate nature of the music and the fast dancing                    For more info on the Zydepunks, go to:
your upcoming European tour. Have you toured                      rhythms will get them going. The dancing’s crucial. If people
                                                                                                                                                     www.zydepunks.com
in Europe before? How are you expecting the                       don’t get up and move, I feel like we’ve had a bad show.


                                                                                                           antigravity: your new orleans music and culture alternative_                          17
 REVIEWS
 books
                                                                     The gecko, dubbed Eulalio, describes sharing the bookish       eerie, slightly sickeningly quality about What Is the What
                                                                  home of an albino named Felix Ventura in contemporary             is that Deng’s personhood has been displaced by someone
                                                                  Angola. Felix sells fictitious pasts to Angolans seeking a more    else’s style and sensibility—by someone else’s story. Deng
                                                                  sensational or anonymous genealogy and past than those            survived his would-be killers in the Sudan, only to have his
                                                                  wrought during the interminable post-revolutionary civil          identity erased here.”
                                                                  war that ripped through the African nation: “I create plots,         What Is the What—whose title comes from a Sudanese
                                                                  I invent characters, but rather than keeping them trapped         proverb warning against the unknown—and The Book of
                                                                  in a book I give them life, launching them out into reality.”     Chameleons set in motion divergent ideas about how to
                                                                  The only certainty in this shell-game reality is Eulalio’s        fictionalize political bloodshed and, through such alchemy,
                                                                  mesmerizing gaze, recording actions, reinterpreting them          make its horrors vivid and meaningful. Genocide and
                                                                  in dreams, and acting as Felix’s confessor.                       counter-insurgency are vastly different creatures, but both
                                                                     Despite using Felix’s narratives to escape or embody           beg for a point of view as close to an authentic witness as
                             I   ’m an animal lover, but I
                                 usually want to put down—in
                               several ways—books narrated
                                                                  more fully their identities, a war photographer, a
                                                                  Communist security agent, a government minister and
                                                                                                                                    possible that does not curdle in post-colonial haughtiness.
                                                                                                                                    So is there much of a difference, then, in tyrannically
                                                                  Felix’s love interest cannot ultimately escape their own          refracting Deng’s attitudes and ventriloquizing, say, a pig
                               by quadrupeds. Outside of
                                                                  and ultimately each other’s histories. Without divulging          who narrowly escapes the slaughterhouse?
                               children’s books and the
                                                                  too many spoilers, the revelation and clash of their pasts           The reason why The Book of Chameleons opens up an
                               multiplex, first-person animals
                                                                  exposes the infighting, imprisonment, and torture of               accurate lifeline to that period in Angolan history is
                               have been the number one
                                                                  competing revolutionaries.                                        paradoxically because of its hyper-reality. Eulalio, as it
                               obstacle to making the leap of
                                                                     The double helix of truth and fiction, both personal and        turns out, is reincarnated; flashes of his former life ripple
                               faith required by fiction, second
                                                                  political, is especially prescient. “The principal difference     through his existence as he fights scorpions and laughs in
                               only to Alberto Gonzalez.
                                                                  between a dictatorship and a democracy,” writes Agualusa,         a way peculiar to his species. He takes on the incorporeal
                                  Until Jose Eduardo Agualusa’s
                                                                  “is that in the former there exists only one truth, the truth     quality of being a witness to history, of containing Angola
                               The     Book    of    Chameleons
                                                                  as imposed by power, while in free countries every man has        the way a mirror contains its reflection—an entrancing,
                               translated from Portugese by
                                                                  the right to defend his own version of events. Truth…is           fragile worldview that the theme of torture shatters with
                               David Hahn, that is. From the
                                                                  a superstition.” The idea is applicable to plenty of stories      wrecking-ball force.
                               opening lines, Agualusa bypasses
                                                                  born out of Africa’s post-colonial civil strife, including Dave      What Is the What, on the other hand, remains an
                               Disney       anthropomorphism,
                                                                  Eggers’ latest, dubiously heartbreaking work, What Is the         undignified mirage, and, again to quote Siegel, “one more
 reductionist husbandry, and whiffs of manure common to
                                                                  What.                                                             instance of the accelerating mash-up of truth and falsehood
 creature feature fiction and sustains a heightened perception
                                                                     The book’s audacious premise is that it’s the autobiography    in the culture, which mirrors and—who knows?—maybe
 from, of all things, a tiger gecko: “I was born in this house,
                                                                  of Valentino Achak Deng, a real-life refugee from Sudan           even enables the manipulation of truth in politics.”
 and grew up here. I’ve never left. As it gets late I press my
                                                                  who collaborated with Eggers and penned the preface. As              If you’re looking for “trueheartedness,” the trademark
 body against the window and look at the sky. I like watching
                                                                  Lee Siegel writes in “The Niceness Racket” in The New             raison d’etre of the McSweeney’s machine, then look no
 the flames, the racing clouds, and above them, angels—hosts
                                                                  Republic, “Eggers could have just as well have transcribed        further than a gecko, and leave literary lizards to their own
 of angels—shaking down the sparks from their hair, flapping
                                                                  Deng’s incredible journey without fictionalizing it… The           devices. —Alan Williams
 down their broad fiery wings. The sight is always the same.”




18_antigravity: your new orleans music and culture alternative
REVIEWS
comics



                                 E    very issue of Criminal offers
                                      up something to make the
                                  fan of crime stories smile.
                                                                                                      W      hite Picket Fences is one
                                                                                                             of those indie gems
                                                                                                     worth asking your store to
                                                                                                                                                                           Q       ueen & Country is like a
                                                                                                                                                                                   James Bond flick from
                                                                                                                                                                            Merchant Ivory, a smart and
                                  Brubaker and Phillips are                                          special order for you. There’s                                         thoughtful look at an action-
                                  working in familiar territory                                      a terrific ensemble cast and a                                          heavy profession. This seemingly
                                  to any crime reader, but the                                       story that features everything                                         incongruous blend of action
                                  characters, the visuals and just                                   from military intrigue to kids’                                        and philosophy results in an
                                  a few modern tweaks work to                                        adventure to social in-fighting                                         often grim but darkly fascinating
keep the whole thing fresh. Each issue is also packed with story,     to the threat of a renewed invasion from another world.            look into what it might really be like for a small group of spies
as this issue features not only a kickass car chase, a favor called   White Picket Fences takes place in a Cold War America, but         tasked to British Intelligence for missions the government can’t
in, a flashback to an unhappy childhood and a heist planned and        one with slight tweaks that has encountered, and perhaps           readily admit to. Tara Chace, a top spy who buries herself in too
pulled off, but plenty of character development throughout.           even had a war with, other-worldly civilizations. Anderson         much alcohol and tawdry sex in-between missions to overcome
Just as Leo, the criminal with brains enough to be scared, was        and Hutchins imagine a story where a hawkish commander             her feelings of shame and revulsion at the moral compromises
a fascinating character in the first arc of Criminal, so too is        in the U.S. Military threatens to ignite tensions with these       required of her job. In the beginning, Rucka populates her world
Tracy Lawless, army vet and former crook, a character with            alien foes, with whom the U.S. currently enjoys detente,           with seasoned spies like Tom Wallace, Tara’s superior in the field,
plenty of depth to explore. Brubaker and Phillips hint at his         even as a group of enthusiastic young boys do their best           and reliable-yet-ruthless spymaster Paul Crocker—but don’t get
past, referencing his time in Bosnia and his relationship with an     to prevent it. Mix Goonies with Iron Giant and a bit of X-         too attached to anyone, as death is a regular occurrence in this
abusive father, but mostly they show us who he is now, a hard         Files and you’ve got some idea, but really, White Picket           book and the constant need for new field operatives results in
man but a smart man. And if the story of Tracy’s slow fall for        Fences is too original to be effectively boiled down in such       new and interesting characters on a regular basis. Art chores are
Mallory has echoes of Holden and Miss Misery in Sleeper and           a manner. Farritor provides beautiful art reminiscent of           handled by a new artist on each arc, including talents like Steve
Leo and Greta, well, it’s certainly arguable that the guy falling     Teddy Kristiansen, complete with a lovely sepia-touched            Rolston, Leandro Fernandez, Brian Hurtt, Mike Norton, Jason
for the wrong dame is a staple of noir. At any rate, Brubaker         color palette that is distinctive and effective, evoking the       Alexander, Carla Speed McNeil and plenty more. The series
packs the story to the gills and Phillips draws the hell out of it,   setting as effectively as Guy Davis and his colorists did          currently stands at seven trades, two novels and three Declassified
with impressive detail work (like a picture perfect rendition of      with the 1930s in Vertigo’s Sandman Mystery Theatre, and           trades that detail the back stories of the older spies, and every one
a blue Dodge Charger), stellar action (the chase scene in the         Anderson and Hutchins combine an interesting ensemble              of them is worth a read. The series has stalled a bit with Rucka’s
opener is a thing of beauty) and perhaps most importantly,            cast, believable but unusual setting and compelling plot into      workload at DC, but an eighth trade is promised soon, and even
expressive work on the characters that absolutely sells their         a must-read comic. —Randy Lander                                   if no further stories ever come out the series is a solid body of
emotional involvement in the story. —Randy Lander                                                                                        work for anyone who has yet to explore it. —Randy Lander




                                                                                                               antigravity: your new orleans music and culture alternative                              _19
 REVIEWS
 film
                                                                           Cillian Murphy narrates and carries the weight of all humanity   escape. Those expecting Herzog’s oft-discussed iconoclasm
                                                                        as the ship’s physicist, Capa. His blue eyes pierce the screen      will be disappointed—Rescue Dawn is easily his most sober and
                                                                        and actually match his shirt in an earlier scene. The actors        mainstream work to date, but it’s also magnificent and studied
                                                                        are top-notch and I wanted to know them better before their         and Herzog’s direction pulls it far away from the Hollywood
                                                                        inevitable deaths occur. You can’t fly a manned mission to the       mold. The performances are spectacular from all angles.
                                                                        sun and expect a safe return, in any time.                          Christian Bale’s Dengler is true to life—an upbeat and positive

                                    T     he sun is dying and as it
                                          goes, so goes mankind.
                                     The future of life itself rests
                                                                           By bathing the screen in light, Boyle crafts a unique thriller
                                                                        propelled by accelerating stress levels as bad decisions are
                                                                        compounded, leaving the crew and the viewer hanging by a
                                                                                                                                            man who seems always resourceful and yet naïve in the face of
                                                                                                                                            danger. Steve Zhan and Jeremy Davies are also superb as co-
                                                                                                                                            captives, portraying the rigors that captivity plays on the mind
                                     in the hands of eight ethnically   thread. This is no ordinary space movie. —J.W. Spitalny             without sinking into cliché. The actors are allowed breathing
                                     diverse crewmen aboard                                                                                 room to shape their parts and humor, almost abandoned in
                                     the fatefully named ICARUS                                                                             most war films, is abundant—when the characters get to
                                     II, charged with delivering a                                                                          laugh, the audience follows suit, breaking the omnipresent
                                     bomb to jumpstart the fading                                                                           gloom for short moments. And yet, as strong as the human
                                     star. Just as its spacecraft’s                                                                         performances are, Rescue Dawn’s true star is the jungle
                                     namesake flew too close to                                                                              landscape. Both menacing and beautiful, the actors are often
 the sun, so does the script in Danny Boyle’s sci-fi psychological                                                                           engulfed by its lush, green expanses and when Zhan’s Duane
 thriller Sunshine, but the picture rights itself just in time for a
 satisfying conclusion to one of the more offbeat genre pictures
 you’ll see this summer.
                                                                                                         W        erner Herzog’s Rescue
                                                                                                                  Dawn is a Vietnam
                                                                                                          movie in name only. At
                                                                                                                                            says, “The jungle is the prison,” you can feel its weight. Like
                                                                                                                                            all of Herzog’s work, the film is full of patient, haunting scenes
                                                                                                                                            and seemingly out of place shots: faces motionless behind walls
    Sunshine is the handiwork of director Danny Boyle and                                                 its heart it is the story of      of vine, deliberate and beautiful vistas left to mull onscreen, a
 screenwriter Alex Garland, whose triumphant 28 Days Later                                                Dieter Dengler’s willingness      dog walking across screen on its hind legs and characters given
 reinvented the zombie film. Here they appropriate elements                                                to survive in the face of         time to build through realistic interactions and not forced
 from numerous genre films from the best ever done, Stanley                                                insurmountable odds. So           developments. Of note is composer Klaus Badelt’s meditative
 Kubrick’s 2001: A Space Odyssey to the wonderfully obscure,                                              powerful is this story that       score, which gives the film a timeless, operatic quality instead
 Disney’s The Black Hole. Cobbling together these familiar                                                Herzog has visited it before in   of a dated, 1960s rock setting. In short, Rescue Dawn is a film
 elements to craft a unique picture rife with suspense is a credit                                        the documentary Little Dieter     that happens to be set within a war, but it carries no forced,
 to the production team. One only wishes the filmmakers                  Needs to Fly. Dengler is a fighter pilot shot down only moments      hawkish jingoism or pedantic, anti-war diatribes. Instead, it
 would have bypassed an unnecessary foray into slasher pic, a           into his first flight, a secret bombing mission over Laos, who is     is a masterful depiction of a man’s desire to live despite his
 similar fate that befell Art School Confidential.                       subsequently captured and held in a POW camp where he plots         unceasing hardships. —Mike Rodgers




20_antigravity: your new orleans music and culture alternative
REVIEWS
music
                                                                       for the Deaf! The first couple of QotSA’s records had more
                                                                       than enough stoner drift moments, but since Deaf it’s been
                                                                       nothing but hard and fast rockers, mid-tempo rockers and
                                                                       the occasional weirdo track to shake off the fair-weather frat
                                                                       boys—they’ve all but rejected the stoner label. Even saying all
                                                                       that now, I guess I don’t really care; Era Vulgaris, despite its

                                  T     he Beastie Boys have
                                        always been based on two
                                   distinct pillars: the Fun and the
                                                                       familiarity, is still a damn good album. The album, and Homme
                                                                       in particular, comes off far cockier on this than the somber
                                                                       Lullabies to Paralyze record—“I’m Designer” struts behind
                                                                                                                                                                                T    he White Stripes are sort
                                                                                                                                                                                     of an anomaly. As a band,
                                                                                                                                                                                they’re about as limited as
                                   Cool. From their ridiculously       seesawing guitar scrapes and a harmony laden, hooky chorus.                                              a pop act can get: stripped
                                   cartoonish frat boy beginnings,     “Make It Wit Chu” sounds just like it should, mid-speed bar                                              down, blues-based rock with
the B-Boys have always plundered that deep well of thoughtless         blues with enough piano and multi-tracked vocals calling out          only around three different elements at any given time and yet
tomfoolery, but, as they’ve aged, at least as much time has been       “I wanna make it with you” to set the mood. Keeping up the            they mostly make it work time and again. Where Meg and Jack
devoted to resurrecting ‘70s funk and saving Tibet as to doodoo        sideshow side of things, “Run, Pig, Run” is a standard buzzsaw        sounded like they were straining against these limitations on Get
rhymes and simplistic beats. Where To the 5 Burroughs distilled        QotSA riffer with an out of the blue circus breakdown and             Behind Me Satan, Icky Thump is a record of comfortability. All the
their retro hip-hop side down to its base elements, their new          broken guitar solo. It’s truly surprising how a band can shed         weirdness and foreign musical instruments are still present, but
record The Mix Up is a compilation of funky soul instrumentals         members like a wrestler sheds pounds and still maintain not           the record feels integrated as opposed to alien. Calling back to
that feels more like a warm-up than a full length LP. The Beastie      only a distinctive sound but keep the quality so high. Queens         their earlier, rawer sound, Thump hits all the right marks while
Boys have never been known as amazing musicians but their              of the Stone Age may be milking the same cow dry, but their           still pushing their sound ahead. A screeching, distorted organ is
grooves are in the right place and the album bubbles with lounging     brand of repetitive riff rawk and boogie-down rhythms still           all over the record, with Jack’s guitar so heavily shredded at times
melodies and thick rhythms. “14th St. Break” rides the beat with       tastes better than most of the pretenders and stoner rock             that it’s hard to tell when the keys end and the strings begin.
vintage ‘70s guitar sting, “Freaky Hijiki” is a smoothed out organ     bands out there. —Mike Rodgers                                        The title track is a good starting point, bridging the gap between
jam and “The Melee” sports fading wah-wah riffs and even more                                                                                their weirdo tendencies and base bluesmanship with its metallic
Hammond key lines. The whole album succeeds in transplanting                                                                                 guitar riffs, buzzing Hammond and stop-start rhythm. “Conquest”
the Jimmy Smith, retro funky feel into the new millennium, but                                                                               is a mariachi barnburner, hitting up southwest song structure and
its relatively simple and short songs don’t add up to a satisfying                                                                           neck shredding with equal aplomb. “Catch Hell Blues,” “Bone
Beastie Boys record. It feels like they could have slapped this                                                                              Broke,” “Little Cream Soda” and “Rag and Bone” are all Elephant-
thing together in one weekend. The songs all share similar guitar,                                                                           style bangers, and if they rarely reach the peaks of earlier work
drum, organ arrangements, rarely clock in over three-and-a-half                                                                              their newfound appreciation for strangeness and depth more than
minutes and are content in rehashing decidedly groovy but still
unoriginal sounds. After the electro, boom-bap simplicity of their
last record, it’s good to hear more organic sounds from the Boys,
                                                                                                        I  ’d like someone to explain
                                                                                                           to me why this is a Smashing
                                                                                                         Pumpkins record. Weren’t Billy
                                                                                                                                             makes up for it. Don’t begrudge the White Stripes their success—
                                                                                                                                             Icky Thump is that rare thing, a record that pulls off familiarity and
                                                                                                                                             invention with both style and success. —Mike Rodgers
but an entire record of lounge funk really shines a light on their                                       Corgan and Jimmy Chamberlain
age and abandons most of the Fun for more of the Cool. Maybe                                             also present in Zwan and The
this is the band throwing in the towel in keeping up with what’s       Future Embrace? Maybe if this was an actual return to the scope
popular, or maybe the revolving wheel of cool has turned enough        of the Smashing Pumpkin’s past catalogue, the moniker might
to put the Beasties back into the spotlight, but The Mix Up only       be appropriate, but Zeitgeist fails. It’s fitting that neither James
feels like an appetizer to the main course. —Mike Rodgers              Iha nor D’Arcy Wretzky were present on this record because
                                                                       I’m sure their contributions wouldn’t be audible anyway—the
                                                                       entire record is lead guitar, drums and a smattering of effects
                                                                       peddle overdubs spliced in here and there. It’s almost an album
                                                                       of “Zero” covers, losing sight of the complex sound that the
                                                                                                                                                                                J -Dilla stands as one of the
                                                                                                                                                                                  most          under-recognized
                                                                                                                                                                                 producers in hip-hop. Ruff
                                                                       Smashing Pumpkins conjured at their pinnacle. Corgan opts                                                 Draft, a reissue of an earlier EP,
                                                                       to craft the Black Sabbath cum alt rock record he’s always                                                does its best to show why he’s
                                                                       dreamed about with only moments of truly inspiring song craft.        recognized as an amazing lost talent but stands as slightly less

                                  I t’s all a sham! Josh Homme         I’m tempted to rate the record a total failure based solely on        fulfilling than his later efforts. J-Dilla’s rhyming is oft-maligned,
                                    and co. have tricked us            the audacity of its premise and mixing issues, but that would         but he holds his own here, rapping about his cred and the lack
                                 once again and I’m ashamed            be unfair, as there are some serviceable rock songs on here.          of it in whack MCs. As its name implies, the production stays
                                 to admit I fell for it. After         “(Come On) Let’s Go” and lead single “Tarantula” manage to            decidedly dirty. “Reckless Driving” pushes forward on dusted
                                 listening to Era Vulgaris I found     capture the arena sized power of the Pumpkins while maintaining       keyboards and synth strings over a low-fi beat. “Wild,” one of
myself ready to heap high praise onto the Queens once more.            the melodiousness the old band was known for. There are a few         the new cuts on this reissue, steps erratically on out of synch,
They’ve put together another steady, rocking album from                cuts that mellow out a bit, drop the stadium roar for some low        scratchy snare samples and a distorted child’s voice mimicking
start to finish. Lead single “Sick, Sick, Sick” is vintage QotSA,       volume musing, but they feel less realized than you would expect      the bass line. Ruff Draft was Dilla’s reinvention, a return to
a droning guitar riff played ad nauseum with a chorus belted           from the band—think Mellon Collie… outtakes. Ultimately, calling      indie roots that he would later perfect. It’s this fact that keeps
out in Homme’s patented falsetto while sly string gymnastics           Zeitgeist a Smashing Pumpkins album is tantamount to Ringo and        this good album from being great. Like it for what it is, a piece
rip in the foreground. It’s as good a song as the band has             Paul calling themselves the Beatles—it’s not true and Corgan          of scratchy, real hip-hop with hints at the heights its producer
ever written and that’s when I realized the deception—it’s             and Chamberlain can’t sustain the versatility and full breadth of     would reach. —Mike Rodgers
essentially the same album they’ve been making since Songs             the band alone. —Mike Rodgers


     MUSIC REVIEWS SPONSORED BY THE OFFICIAL RECORD STORE OF ANTIGRAVITY




                                                                                                                   antigravity: your new orleans music and culture alternative_                                  21
22_antigravity: your new orleans music and culture alternative
EVENTS
                                                                                                                                         Citizen Dread, Sticky Bandits, Zydeco BBQ and
NEW ORLEANS                                                                                 Wednesday, 8/1                               Roadhouse
                                                                             Tokyo Police Club, Ra Ra Riot, Republic, 9pm                Johnny Vidacovich Duo, d.b.a., 10pm
45 Tchoup, 4529 Tchoupitoulas (504) 891-9066                                 Chris Scheurich, Circle Bar
The Big Top, 1638 Clio St., (504) 569-2700, www.3ringcircusproductions.com   DJ T-Roy Presents: Dancehall Classics, Dragon’s Den, $3                    Wednesday, 8/8
                                                                             Music in a Month, Der Rathskeller, 7:30, FREE
Cafe Brasil, 2100 Chartres St., (504) 947-9386                               Open Mic Comedy Night, Howlin’ Wolf, 7pm, $5                All Get Out, Sasquatch and the Sick-a-Billys, Spring
                                                                             Apple Butter, Spanish Moon                                  Break Shark Attack, Hi-Ho Lounge, 10pm
Carrollton Station, 8140 Willow St., (504) 865-9190,                         Billy Ruso and the Restless Natives, Tarantula Arms, 10pm   DJ T-Roy Presents: Dancehall Classics, Dragon’s Den, $3
www.carrolltonstation.com                                                    Walter Wolfman Washington, d.b.a., 10pm                     19th St. Red, Circle Bar
                                                                                                                                         Open Mic Comedy Night, Howlin’ Wolf, 7pm, $5
Checkpoint Charlie’s, 501 Esplanade Ave., (504) 947-0979                                                                                 Daybreakdown, Maple Leaf
                                                                                              Thursday, 8/2                              The Volcom Tour f/ the Riverboat Gamblers,
Chickie Wah Wah, 2828 Canal Street (504) 304-4714,                           Bring That Beat Back Hip-Hop Extravaganza                   Valient Thorr, Totimoshi, The Parish @ House Of Blues
www.chickiewahwah.com                                                        w/ Rampage, Craig Mack, Camp Lo, Rah Digga,                 Walter Wolfman Washington, d.b.a., 10pm
                                                                             Dragon’s Den
Circle Bar, 1032 St. Charles Ave., (504) 588-2616, www.circlebar.net         The Fens, Circle Bar                                                       Wednesday, 8/8
                                                                             Fast Times ‘80s Dance Night, One Eyed Jacks
Club 300, 300 Decatur Street, www.neworleansjazzbistro.com                   Howard’s Dilemma, Der Rathskeller, 7pm, $5
Coach’s Haus, 616 N. Solomon                                                 Portugal the Man, Russian Circles, To My Boy,
                                                                             High Ground, 7pm, $8
D.B.A., 618 Frenchmen St., (504) 942-373, www.drinkgoodstuff.com/no          Rebirth Brass Band, Overtone, Howlin’ Wolf, 10pm
                                                                             DJ Kemistry, Republic, 11pm
Eldon’s House, 3055 Royal Street, arlovanderbel@hotmail.com                  Nothing More, Luke Starkiller, Magna Porta,
                                                                             Swords at Sundown, Zydeco BBQ and Roadhouse
Dragon’s Den, 435 Esplanade (504) 949-1750,                                  Palmetto Bug Stompers, d.b.a., 10pm
www.myspace.com/dragonsdennola
Fuel Coffee House, 4807 Magazine St. (504) 895-5757                                              Friday, 8/3
                                                                             Kelcy Mae, Ladyfingers, Carrollton Station, 10pm, $5
Goldmine Saloon, 701 Dauphine St., (504) 586-0745,                           Pelican, Clouds, Spanish Moon, 10pm                          Daniel Johnston, Big Blue Marble, Joe Adragna,
www.goldminesaloon.net                                                       N.O.madic Belly Dancers, Dragon’s Den, 8pm                              House of Blues, 7pm

The Green Space, 2831 Marais Street (504) 945-0240,
www.thegreenproject.org
                                                                             Shadow Gallery, Dragon’s Den, 10pm
                                                                             Dave Easley, Circle Bar, 6pm
                                                                             Washboard Chaz Trio, Circle Bar, 10pm
                                                                                                                                          N    ow known as much for his oddball persona
                                                                                                                                               and well documented mental health issues as
                                                                                                                                          for his beautiful and seemingly cobbled together
                                                                             Archaic Roots, Tarantula Arms, 10pm                          pop songs, Daniel Johnston is a rarity in rock
The High Ground, 3612 Hessmer Ave., Metairie, (504) 525-0377,                R.F.O.P. f/ DJ Butterfoot, One Eyed Jacks                    music—a star in spite of himself. Often cited as
www.thehighgroundvenue.com                                                   Blue October, Jon McLaughlin, Roger Clyne and                some of your favorite artists’ favorite artist, the
                                                                             the Peacemakers, House Of Blues                              Austin-based Johnston’s songs range from creaky
Hi-Ho Lounge, 2239 St. Claude Ave. (504) 945-4446,                           Johnny Sketch and the Dirty Notes, Maple Leaf                organ recordings to simple, guitar-based musings
www.myspace.com/hiholounge                                                   Corey Smith, The Parish @ House Of Blues, 8pm                on everyday objects. His DIY approach is as close
                                                                             DJ Matic, Republic, 11pm                                     to outsider art as you could find headlining the
House Of Blues / The Parish, 225 Decatur, (504)310-4999,                     Aggro-Fate, Arcane Theory, Channel of Release,               House of Blues. —Mike Rodgers
www.hob.com/neworleans                                                       Throughwhatwas, Zydeco BBQ and Roadhouse
                                                                             Satchmo Club Strut, Hot Club of New Orleans,
The Howlin’ Wolf, 907 S. Peters, (504) 522-WOLF, www.thehowlinwolf.com       d.b.a., 6pm                                                                  Thursday, 8/9
                                                                             Stanton Moore Trio, d.b.a., 10pm, $10
Kajun’s Pub, 2256 St. Claude Avenue (504) 947-3735,                                                                                      The Bombshelter w/ DJ Bomshell Boogie, Dragon’s
                                                                                                                                         Den (Upstairs)
www.myspace.com/kajunspub
                                                                                               Saturday, 8/4                             DJ Proppa Bear Presents: Bassbin Safari, Dragon’s
Le Bon Temps Roule, 4801 Magazine St., (504) 895-8117                        “None a Stranger:” Portraits by Zack
                                                                                                                                         Den (Downstairs)
                                                                                                                                         Fast Times ‘80s Dance Night, One Eyed Jacks
                                                                             Smith, The Big Top, 6pm
Maple Leaf, 8316 Oak St., (504) 866-9359                                                                                                 DJ Kemistry, Republic, 11pm
                                                                             The Helm, Jude Fawley, A Hanging, Dragon’s Den, 7pm
                                                                                                                                         Courtyard Kings, Circle Bar
Marlene’s Place, 3715 Tchoupitoulas, (504) 897-3415,                         Why Are We Building Such a Big Ship?, Scandaliz
                                                                                                                                         Paul Sanchez, d.b.a., 10pm
                                                                             Vandaliz, Dragon’s Den, 10pm
www.myspace.com/marlenesplace
                                                                             Schatzy, Circle Bar
One Eyed Jacks, 615 Toulouse St., (504) 569-8361, www.oneeyedjacks.net       Justin Bailey, Sound and Shape, Spanish Moon, 10pm                             Friday, 8/10
                                                                             Taylor Hicks, House Of Blues                                Girl Talk, Spanish Moon, 10pm
Pravda, 1113 Decatur St.                                                     DJ Kemistry, Republic, 11pm                                 2nd Annual Rykodisc Showcase w/ Eskimo
                                                                             Rural Route 9, One Warmer Blue, the Flood                   Joe, Will Hoge, Junior Senior, My Life With
Republic, 828 S. Peters St., (504) 528-8282, www.republicnola.com            Memoirs, Cities Killed Starlight, Box 100s, Zydeco          Thrill Kill Kult, Tipitina’s Uptown, 8pm, $15
                                                                             BBQ and Roadhouse                                           N.O.madic Belly Dancers, Dragon’s Den, 8pm
Rusty Nail, 1100 Constance Street (504) 525-5515, www.therustynail.org/      Egg Yolk Jubilee, d.b.a., 11pm, $5                          Good Guys, the Dullards, Dragon’s Den, 10pm
Tarantula Arms, 209 Decatur Street (504) 525-5525,                                                                                       We’re Only in it For the Honey, Narcissy, Circle Bar
www.myspace.com/tarantulaarms                                                                   Sunday, 8/5                              Friday Night Music Camp w/ Washboard Chaz
                                                                                                                                         Trio, 5pm, FREE (Members), $5 (Non-members)
                                                                             I, Octopus, Taliba Cumi, Big Baby, Dragon’s Den
Tipitina’s, (Uptown) 501 Napoleon Ave., (504) 895-8477                       DJ Lingerie, Circle Bar
                                                                                                                                         Gay Beast, Der Rathskeller, 7pm, $5
                                                                                                                                         Machine Made Slave, Zombie Legion, Hi-Ho Lounge,
(Downtown) 233 N. Peters, www.tipitinas.com                                  Noixious Noize w/Christion, Hi-Ho Lounge, 10pm
                                                                                                                                         10pm
                                                                             Floetry Remixed w/ Emily King, House Of Blues
                                                                                                                                         Sievers Drive, Luke Starkiller, Sircles, Tarantula
Zydeco BBQ and Roadhouse, 808 Iberville St.,                                 Linnzi Zaorski, d.b.a., 6pm
                                                                                                                                         Arms, 10pm
                                                                                                                                         Juvenile, House Of Blues
BATON ROUGE                                                                                     Monday, 8/6                              DJ Matic, Republic, 11pm
                                                                             Murder Junkies, Hi-Ho Lounge, 10pm                          Runoft, Rising Sun, In Media Res, Still Frame
Chelsea’s Café, 2857 Perkins Rd., (225) 387-3679, www.chelseascafe.com                                                                   Tradgedy, Zydeco BBQ and Roadhouse
                                                                             Nik Flagstar, Dragon’s Den
The Darkroom, 10450 Florida Blvd., (225) 274-1111,                           Andy Forest, Circle Bar                                     Little Freddie King, d.b.a., 10pm, $5
www.darkroombatonrouge.com                                                   Suburban Legends, Zolof the Rock and Roll
                                                                             Destroyer, Patent Pending, Jet Lag Gemini, High                             Saturday, 8/11
North Gate Tavern, 136 W. Chimes St. (225)346-6784,                          Ground, 7pm, $8
                                                                                                                                         Little Freddie King, One Eyed Jacks, 9pm
www.northgatetavern.com                                                      Grace Read, Jesse Lacey, Kevin Devine, House of Blues
                                                                                                                                         Girl Talk, Impulss, One Eyed Jacks,
                                                                             Papa Grows Funk, Maple Leaf
                                                                                                                                         Midnight, $20
Red Star Bar, 222 Laurel St., (225) 346-8454, www.redstarbar.com             Bob French and Friends, d.b.a., 9pm, $5
                                                                                                                                         Gruk, Recovery Period, Der Rathskeller, 7pm, $5
Rotolos, 1125 Bob Pettit Blvd. (225) 761-1999,                                                                                           Dax (From Austin), Hi-Ho Lounge, 10pm
                                                                                               Tuesday, 8/7                              Below C Level, Dragon’s Den
www.myspace.com/rotolosallages                                                                                                           Collapsar, Spickle, Circle Bar
                                                                             Mosquitosaphagus, Sievers Drive, Dragon’s Den
The Spanish Moon, 1109 Highland Rd., (225) 383-MOON,                         CR Gruver, Kevin O’Day, Circle Bar                          My Life With Thrill Kill Kult, Spanish Moon, 10pm
                                                                             Voltaire, Hi-Ho Lounge, 10pm                                Sick of Silence, King Moss, NOD, Zydeco BBQ and
www.thespanishmoon.com                                                                                                                   Roadhouse, 10pm, $5
                                                                             Karaoke Tuesday, Tarantula Arms, 10pm
The Varsity, 3353 Highland Rd., (225)383-7018, www.varsitytheatre.com        Tierney Sutton, Tipitina’s Uptown                           The Public, The Always Already, Tarantula Arms, 10pm
                                                                             A Kid Named Thompson, Ta-Ta Destroyers,                     DJ Kemistry, Republic, 11pm


                                                                                        antigravity: your new orleans music and culture alternative_                                         23
 EVENTS
 NOD, Sick of Silence, King Moss, Redwether,                                                              be a hard sellout even if she were going to sing    Thou, Green Space, 7pm, $5
 Zydeco BBQ and Roadhouse                                               Sunday, 8/12                      the Orleans Parish Yellow Pages. Fortunately,       DJ T-Roy Presents: Dancehall Classics, Dragon’s Den, $3
 Juice, d.b.a., 11pm, $5                                                                                  Case, whose voice sits somewhere between            Open Mic Comedy Night, Howlin’ Wolf, 7pm, $5
                                                                                                          Loretta Lynn’s sassiness and Corin Tucker           Ben Kweller, Tim Fite, The Parish @ House Of Blues
                 Saturday, 8/11                                                                           of Sleater-Kinney’s aggression, will be taking      The Geraniums, Circle Bar
                                                                                                          time off from fronting the New Pornographers        Walter Wolfman Washington, d.b.a., 10pm
                                                                                                          to play some of her solo material. Her songs
                                                                                                          often play out like mini Flannery O’Connor                          Thursday, 8/16
                                                                                                          narratives: here’s a murder, there’s a cornfield,
                                                                                                          here’s God showing up in a bizarre situation.       The Bombshell w/ DJ Bomshell Boogie, Dragon’s
                                                                                                          2006’s Fox Confessor Brings the Flood—which         Den (Upstairs)
                                                                                                          found itself on many year-end best-of lists—        DJ Proppa Bear Presents: Bassbin Safari, Dragon’s
                                                                   Neko Case, Benjy Ferree,               cemented her reputation as indie elite; the         Den (Downstairs)
                                                                        Republic, $20                     songs being textured as deep and rough as the       The Myrtles, Circle Bar

                                                           C   omedian Eddie Izzard, when commenting      lyrics themselves, Case’s voice rising gracefully   Fast Times ‘80s Dance Night, One Eyed Jacks
                                                               on the National Anthem, said that it       above it like a siren. Her live shows are said      DJ Kemistry, Republic, 11pm
                                                           doesn’t really matter what you’re singing as   to be even more impressive, as her stunning         Joe Krown Organ Combo, d.b.a., 10pm
 Against Me!, Gaslight Anthem Two Gallants,                long as you’re singing with gusto. The same    voice holds its own against re-interpretations
           House of Blues, 6pm                             could be said of Neko Case; this show would    of some of her older songs. —Marty Garner

  F   lorida rock band Against Me! is often
      lumped into the punk scene—performing
  on the Warped Tour and signing to Fat Wreck
  Chords, as well as their previous anarchist
  professions, do little to discourage that
  association even though their new record New
  Wave is closer to traditional American rock than
  punk in more places. Despite accusations of
  selling out their earlier sound and ideals, Against
  Me! still churn out rock at its base form: riff
  heavy, mid-tempo and loud. —Mike Rodgers



                   Sunday, 8/12
 Big Beard Benefit w/ Noisician Coalition, One Eyed Jacks
 N.O. Love Lyricist Lounge, Hi-Ho Lounge, 10pm
 Magna Porta, Da Bears, Dragon’s Den
 DJ Lingerie, Circle Bar
 Spooky LaStrange and Her Billion-Dollar Baby
 Dolls, Tarantula Arms, 10pm
 Jeff and Vida, d.b.a.
 Chris Isaak, Nicole Atkins, House Of Blues
 Linnzi Zaorski, d.b.a., 6pm

                  Monday, 8/13
 Johnny Woodstock and the 9th Ward Inquisition,
 Spring Break Shark Attack, Dragon’s Den
 Ben Maygarden, Johnny Jay, Circle Bar
 Papa Grows Funk, Maple Leaf
 Bob French and Friends, d.b.a., 9pm, $5

                  Tuesday, 8/14
 Tchouptchupacabara, Jak Locke, Dragon’s Den
 The Fens, Circle Bar
 Karaoke Tuesday, Tarantula Arms, 10pm
 Alesana, As Cities Burn, Chase Pagan, the Junior
 Varsity, House Of Blues
 Johnny Vidacovich Duo, d.b.a., 10pm

               Wednesday, 8/15
 Vinyl Fantasy: DJ Jubilee vs. DJ Slice
 f/ Jimi Clever and 5th Ward Weebie,
 Republic, 8pm
 Mass Movement of the Moth, Anchors, PROMIS,




24_antigravity: your new orleans music and culture alternative
EVENTS
                                                          Topcats, Beatin Path, House Of Blues
                   Friday, 8/17                           DJ Matic, Republic, 11pm
Spooky LaStrange and Her Billion-                         Vedas, Misled, Sporatic, the Flood, Zydeco BBQ and
Dollar Baby Dolls w/ Clockwork Elvis,                     Roadhouse
Hi-Ho Lounge, 10pm                                        Ingrid Lucia, d.b.a., 6pm
My Graveyard Jaw, N.O.madic Belly Dancers,                Robert Walter Organ Trio, d.b.a., 10pm, $5
Dragon’s Den
Clint Maedgen, Circle Bar                                                  Saturday, 8/25
Brenton and the Brentones, Spanish Moon
Gradoux, Tarantula Arms, 10pm                             Zydepunks CD Release Party, Dragon’s Den
DJ Matic, Republic, 11pm                                  Big Easy Rollergirls 2008 Pinup Calendar Launch
Good Guys, Zydeco BBQ and Roadhouse                       Party w/ Liquidrone, Fleur de Tease Burlesque,
Hot Club of New Orleans, d.b.a., 6pm                      One Eyed Jacks
Zydepunks, d.b.a., 10pm, $5                               Egg Yolk Jubilee, Circle Bar
                                                          The Radiators, Howlin’ Wolf, 10pm, $15
                                                          Lazarus Heart, Spanish Moon
                Saturday, 8/18                            Bonerama, Mid-City Lanes
Centro-Matic, Jason Isbell, Chelsea’s                     DJ Kemistry, Republic, 11pm
The Other Planets, Dragon’s Den                           RGB, Hi-Ho Lounge
The Bally Who?, Ratzinger, Circle Bar                     3rd Echo, Beatin Path, Edge Set Mary, Zydeco BBQ
Totally Michael, Prizzy Prizzy Please, Green Space,       and Roadhouse
2pm, $3                                                   Roddie Romeo and the Hub City All-Stars, d.b.a., 11pm, $5
Bag of Donuts Luau, Codename: Fausto, Howlin’
Wolf, 10pm, $10                                                             Sunday, 8/26
The Muddpiggs, the Bills, the Unnatural Disasters,
One Eyed Jacks, 9pm                                       Russ Scannavino signs A Second Chance, Barnes and
Israel Vibration, the Roots Radics Band, House Of Blues   Noble (Westbank), 2pm
DJ Kemistry, Republic, 11pm                               N.O. Love Lyricist Lounge, Hi-Ho Lounge, 10pm
Best Left Unsaid, Muskrat Hannah, Makeshift               Simon Lott w/ Mike Dillon and Friends, Dragon’s Den
Lover, Zydeco BBQ and Roadhouse                           DJ Lingerie, Circle Bar
Otra, d.b.a., 11pm, $5                                    Spooky LaStrange and Her Billion-Dollar Baby
                                                          Dolls, Tarantula Arms, 10pm
                                                          Skeeter Dope, Mesionide, DownStares, Zydeco
                  Sunday, 8/19                            BBQ and Roadhouse
Mike Dillon w/ Simon Lott and Friends, Dragon’s Den       Washboard Chaz Blues Trio, d.b.a., 10pm
Jennifer Gentle, Circle Bar
They Shoot Horses Don’t They, Der Rathskeller, 7pm, $5                      Monday, 8/27
Avenger of Blood, Merciless Death, Devastator,
Sick of Silence, Zydeco BBQ and Roadhouse, 10pm, $8       Skeeter Dope, Mesionide, Dragon’s Den
Noixious Noize w/ Christion, Hi-Ho Lounge, 10pm           Papa Grows Funk, Maple Leaf
Avenger of Blood, Merciless Death, Devastator,            Bob French and Friends, d.b.a., 9pm, $5
Zydeco BBQ and Roadhouse
Anais St. John, d.b.a., 6pm                                                Tuesday, 8/28
Schatzy, d.b.a., 10pm
                                                          Perry Farrell’s Satellite Party, Republic
                                                          The Pine Hill Haints, Dragon’s Den
                 Monday, 8/20                             Washboard Chaz Trio, Circle Bar
Carl LeBlanc, Circle Bar                                  Shark Attack, Gein and the Graverobbers, Spanish
Bob French and Friends, d.b.a., 9pm, $5                   Moon, 10pm
                                                          Karaoke Tuesday, Tarantula Arms, 10pm
                                                          Unofficial Pat Benatar Afterparty w/ Ruby Rendrag
                 Tuesday, 8/21                            Trio, Chase McCloud, Tarantula Arms, 11pm
Chow Nasty, One Eyed Jacks                                Pat Benatar, Lennon, Neil Giraldo, House Of Blues
Martin Krusche, Kevin O’Day, Circle Bar                   Rocco DeLuca and the Burden, The Parish @
Jealous Monk, Dragon’s Den                                House Of Blues
Rural Route 9, No One Goes Home, Greater                  Mayday! Mayday!, Rural Route 9, Zydeco BBQ and
Than Pi, 5606, Zydeco BBQ and Roadhouse                   Roadhouse
Johnny Vidacovich Duo, d.b.a., 10pm                       Johnny Vidacovich Duo, d.b.a., 10pm


              Wednesday, 8/22                                            Wednesday, 8/29
Anxious Sound 10th Anniversary                            DJ T-Roy Presents: Dancehall Classics, Dragon’s Den, $3
Celebration, Circle Bar                                   Open Mic Comedy Night, Howlin’ Wolf, 7pm, $5
DJ T-Roy Presents: Dancehall Classics, Dragon’s Den, $3   The Last Name Change, Spanish Moon
Snakes Says Hiss, the Huxtables, Spanish Moon, 10pm       Daybreakdown, Le Bon Temps Roule
Open Mic Comedy Night, Howlin’ Wolf, 7pm, $5              Walter Wolfman Washington, d.b.a., 10pm
Sonia Tetlow, Zydeco BBQ and Roadhouse
Walter Wolfman Washington, d.b.a., 10pm                                   Thursday, 8/30
                                                          The Bombshell w/ DJ Bomshell Boogie, Dragon’s
                Thursday, 8/23                            Den (Upstairs)
The Bombshell w/ DJ Bomshell Boogie, Dragon’s             DJ Proppa Bear Presents: Bassbin Safari, Dragon’s
Den (Upstairs)                                            Den (Downstairs)
DJ Proppa Bear Presents: Bassbin Safari, Dragon’s         The Other Planets, Circle Bar
Den (Downstairs)                                          Fast Times ‘80s Dance Night, One Eyed Jacks
I, Octopus, A Living Soundtrack, the Hate Moms,           DJ Kemistry, Republic, 11pm
Circle Bar
Fast Times ‘80s Dance Night, One Eyed Jacks                                  Friday, 8/31
DJ Kemistry, Republic, 11pm
                                                          Good Guys, Broken Smokes, Arbor
                                                          Vitae, Circle Bar
                   Friday, 8/24                           We Landed on the Moon, Spanish Moon, 10pm
Soul Rebels, Dragon’s Den, $10                            DJ Matic, Republic, 11pm
Gal Holiday and the Honky Tonk Revue, Circle Bar          Grayskull, Trickbag, Necrid, Zydeco BBQ and
Rose’s Pawn Shop, Ross Hallen and the                     Roadhouse
Hellbenders, Hi-Ho Lounge, 10pm                           Grayson Capps, d.b.a., 10pm, $5
The Bingo Show, Spanish Moon, 10pm
Friday Night Music Camp w/ Michael Skinkus and                              Saturday, 9/1
Moyuba, The Big Top, 5pm, FREE (Members), $5
(Non-members)                                             504 Whatstyle Rock Art Circus w/
Earlcanbird, Tarantula Arms, 10pm                         Suplecs, The Big Top
2007 New Orleans Beatles Festival w/ the                  Au Revior Simone, Oh No Oh My, Spanish Moon, 10pm



                                                                                                                                                                                 25
                                                                                                                      antigravity: your new orleans music and culture alternative_
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26_antigravity: your new orleans music and culture alternative

				
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