Speak Up!

-Today's guest rant comes from Rocketman. Involuntarily, by the way. Let me know if you have a problem with that. I like to present other views of things I write about.

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"Don't support the current Detroit artistic 'royalty', support the revolution. The age of the 'rock star, druggie, hack' artist must come to an end. These bastards cheapen our profession. I'm sick of looking at a pile of cum and dog crap and hearing how it's a sad commentary on the dehumanization of modern man. We must bring about a change, we must no longer allow every ass hole with a paint brush or welder to call themselves an artist. Instead of parading artistic crap through the streets we must take to the streets and beat the crap out of the artists. In the words of Willy Wonka "I've pushed every button in this thing except this one. Go ahead Charly, push it. I said PUSH IT, DAMN IT!"
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Rocketman later told me that he was joking, but I think he really did mean some of that. I know what he's saying. The art world does tend to easily embrace the 'rock-star type artists'. What society doesn't? He's concerned with the lack of skill in today's art world, particularly Detroit. It's important to keep in mind that he is a very skilled artisan within the mediums of wood, metal, concrete, and tile. This brings up another issue, too many artists don't view skilled artisans as being artists, too. It's yet another facet of the art world that isn't sculpture, isn't painting, and isn't installation art, therefore it's not considered to be 'as artistic'. Total bullshit. But, I guess this comes down to the first time someone complained that R. Mutt's (Marcel Duchamp) readymades and found art weren't really art. It's a discussion that will never end, and Americans, especially those in a very elitist town like Detroit, will never truly embrace the never-ending scope and range of what is art.

The people have spoken

Lights are flashing, cars are crashing

Ever been bowling before? Ever thought about what goes on behind that back wall when your ball disappears? There are big machines back there that pick up, sweep away, and set down the pins. They move the ball onto a track so that it can come back to you. These machines are called automatic pinsetters. Unfortunately, a real person has to fix these beasts once in awhile. More often than not if the machines are old - and they usually are. People who work on these machines are often referred to as 'pin-chasers'. Some people call 'em 'pin-monkeys', but they hate that. Don't call them that. In my six years or so of being connected to a bowling alley, I've been a pinchaser, and I've encountered many. Some were co-workers, some worked at other houses. Everyone I've known who has done it for any lengthy period of time at the Garden Bowl in Detroit happens to be male, wear glasses, have a generally dark disposition in life, have an artistic or creative mind, and they all like the band Joy Division. One of them, is an insanely talented painter. He's also been to rehab for heroin and alcohol. Another recently showed work at the "Dirty" show this year. I believe it involved vibrators, but I'm not sure, I didn't make it out there. There's another who is a virtual encyclopedia of narcotics, and happens to be a music fanatic. In fact, drugs and alcohol seem to play a big part in the lives of these men. What is it? Why is it that people with dark and artistic lives tend to take these jobs where their hands get calloused, and their clothes get permanent grease stains, and they have to trim their frayed jeans if they want to keep their feet? I think it's a case of not being able to make a living on your art, so you give in and do something that allows you to work with your hands and feel and see a sense of accomplishment once you've finished a task. I liked the days when I couldn't get my hands clean no matter how hard I tried and the callouses made them rough. I felt like I knew that I just did something with my bare hands and I could see what I accomplished. I don't know, whatever, I liked it.

I'm Not Even 30 Yet!

God, have I felt old in the past two days. There was a time when seeing a punk show was a regular thing for me. At least one a week. I admit, I still see my share of those shows, but not the big names. Last night, as you may have read below, I saw Against Me! at Alvin's in Detroit. They're a fairly young band, taking their roots from slightly older bands like Hot Water Music. Tonight's show was Avail and the Bouncing Souls. Two nights, three punk bands, and two good shows. Avail, as always was good and enthusiastic. However, as long as I've been a Bouncing Souls fan (10 years, maybe), I've never seen 'em live until tonight. If I were to close my eyes, it would be good. Alas, it wasn't all that energetic. The singer looked bored. Apparently, he's been that way ever since he hurt himself a few years back. I don't know, it was a little disappointing. I think it is interesting, though, to point out that both Avail and the Bouncing Souls chose to spend their night off last night seeing Against Me!. When I first walked in that show last night, I realized that myself, the guys from Avail and BS (who got there right after me) were probably the oldest people in the place. Unfortunately, when the Bouncing Souls were leaving Alvin's, they got mugged. It wouldn't be Detroit if they got away scot free, now would it?

freaks, nerds, & romantics

Reinventing Axl Rose

...is the name of the first album from Against Me!, who played at Alvin's in Detroit tonight. I have no idea what it means, but the song of the same name has to do with the excitement and privilege of playing live shows without worrying about merchandise and making money and just doing it purely for the excitement and joy that comes from playing good music for kids who appreciate it. That's sure as hell what went on tonight. Four guys from Gainesville, Florida. Who else is from there? Hot Water Music. Do they sound similar? Yes. In a way. Against Me!'s sound is anthemic, somewhat folky at times, quite political, and the vocals are often throaty much like HWM. However, HWM has moved on and evolved and their sound is still engaging, but not quite what it used to be. Against Me! is overtly political (leaning towards the liberal left or anarchist side of things) and the kids effing love it. I love it. Fists raised, hoarse throat, shouted choruses, it's all there. The excitement and thrill of singing along is there. I walked into that show, and felt like an old man. I'm 28. The average age there was probably 21, so yes, I felt old. It was a little uncomfortable at first, but then I found a few people I knew, and everything worked out. This begs the question, Jeff, what were you doing at a show with a bunch of kids? The band members are all my age or a little bit older, so I'm where they're at. I understand. The last time I encountered them, they were bowling after playing a show at the Majestic Theater with Anti-Flag. They were the nicest guys. One of 'em kept bugging me all night to play songs for him, and another told me to let him know if the first one got out of line. They were like some sort of weird little family, watchin' out for each other. In the end, they tipped me $20 for playing songs for them while they were bowling. I didn't even want to accept it, because they were so nice the whole time. I guess that's what a lot of older punks don't like about "emo" bands: they're too nice. Whatever. These guys are the real deal, plain and simple. Oh, the sound? Imagine a young, American Pogues with no native Irish instruments, just guitars, bass, and drums. Emphatic, anthemic, and political.

Pints of Guinness make you strong

Kunstparade

So...yesterday my housemate and I went to the first meeting of the Events Committee at the Detroit Artists Market. We have a friend who works there, and asked us if we wanted to get involved. Being artistically minded, and feeling some sort of need to get involved with community service, we said yes. So, the committee's goal is to bring together the local art community (in Detroit) and to make it more visible to the public. Not for marketing, but purely to get the general community more involved in art because of it's many positive aspects. The committee is made up of nine people from various artistic backgrounds. Aaron and I, and our friend Alissa who's also involved don't specifically identify ourselves as artists, but we do have appreciation. At some point in the meeting, after a brief discussion on something, one of the members who is an artist, and teaches art asked what the non-artists felt about what we had just discussed. Everyone in the room turned to look at Aaron, Alissa, and myself. That felt odd. The point of this committee is to bring the local art scene together, thus recognizing the very broad facets that the scene is comprised of. During introductions, I identified myself as a DJ, musician, and writer. Aaron identified himself as a photographer, and Alissa is a network administrator at a gallery. So, maybe we don't paint or draw or sculpt, but what we do is certainly art. Yes, I believe that working with computers, even in a seemingly non-creative sense is very artistic in it's complexity of patterns. Anyway, the fact that this committee member who IS an artist chose to identify us as "non-artists," really bothered me. We were there with the intent of bringing artists together, and she's already dividing us.

So, now that's off my chest. Next topic. One of the things we discussed was an Art Parade. This would hopefully go up Woodward, probably starting at C-Pop in Midtown and ending in Ferndale or Royal Oak. Highland Park will definitely be interesting. The idea is that people who take part in the parade can make their own costumes if they want, they can build a float, do whatever as long as it's artistic. Local organizations, clubs, bars, concert venues, and restaurants could get involved if they wanted to, but they won't be asked to take part as a group. Corporate sponsorship of any kind is something that will be avoided. What do you think of that idea? Sounds a little cheesy, but I think it could be really fun.

Got art?

Danger, Danger!

I'm assuming that huffing Blow Off (canned air - petroleum hydrocarbon and tetrafluoroethane) is not safe. At least, that's what it looked like last night. Don't ask me, I don't know. Crazy kids and your music. Keystone Ice is not good beer. Don't let the low price tempt you. The firepit on Holbrook lives.

Fire in the disco

Two-Tone Belair

(press release from Times Beach Records)


LONGTIME ROAD WARRIORS THE HENTCHMEN SIGN TO TIMES BEACH RECORDS


As of April 23, 2004, after years of releasing their albums on Norton Records (with the exception of several singles and one mini-LP), the Hentchmen join the Times Beach Records family. The band has already been in the studio working on their new LP, set to come out this September. Times Beach is a young independent record label based in the Hentchmen’s hometown of Detroit, Michigan.

Dialogue began last fall between the Hentchmen and the Times Beach Records crew: it was a friendly chat on a brisk night over pints of Bell’s at the Lager House, before a particularly energetic Hentchmen set. Details were finalized over the next few months while the Hentchmen prepared their next album at Times Beach’s neighboring studio, Rustbelt, in Royal Oak.

Rustbelt owner and Times Beach president Dave Allison says, “The record is just about complete and I believe it is their best work so far.” On the subject of the Hentchmen joining the label, he adds, “With the amount of touring and ground work they have done already, the Hentchmen are going to be a great asset to the label.”

The band is just as enthusiastic about joining the label; John Szymanski, organist, says they like Times Beach because it is a “young, exciting label [that] can’t be pigeon-holed,” and they “welcome the change” of having an in-house promotions team.

A video has been shot for the Hentchmen’s first single, “Love,” off the new album, which is tentatively being called Form Follows Function. The band will most likely be heading out on the road to support the fall release.

I was born in the city - grew up in the hills, I decided to turn my back...

I Am Kurious Oranj

Live, tonight, in Detroit: The Fall. Yes, the Fall are playing the Magic Stick tonight. It's a little pricey at $17, but it's worth it if you're a fan. If you're just adventurous and don't mind spending the cash, go anyway. You won't be let down. Since their inception in Manchester in 1979, they've released 112 records. Yes, that includes EPs, best ofs, and reissues, but damn, it's still impressive. Doors are at 9pm. Go there, I command it! The other big show tonight is at the Lager House. Bumpin' Uglies, Bang Bang, and the Drip (from Chicago). If you've been a faithful reader from the start, then you know my opinion of Bang Bang: possibly Detroit's last hope for good hardcore. I know nothing of the Drip. Bumpin' Uglies are always entertaining. Not only are they a good punk band, but they also bring a wrestling schtick to every show complete with broken chairs, bloody guitar players, and highly entertaining wrestling. Don't worry, the crowd is never pulled into this, it's only the band. Oh, another show: the Detroit Art Space. Here it is, straight from the source, Dave from Ten Words for Snow: Ten Words for Snow CD release party at Detroit Art Space (101 E. Baltimore, two blocks South of Grand Boulevard, one block East of Woodward at John R in Detroit's New Center Area)(right by the White Castle). We'll have the CDs for sale and t-shirts and all that. Doors are at 9, first band at 9:30. The other bands are the Salt Miners, the Basements, and the Prime Ministers. I have to admit, I don't know of the opening bands, but Ten Words for Snow have kind of an indie rock sound reminiscent of Versus. The Detroit Art Space usually sells cups of Motor City Brewing Works beer, but it's also BYOB.

Saturday's events: Finnish dark metal band HIM plays the Majestic Theater. Graham Parker plays the Magic Stick. The Questions and Sista Otis play the Lager House. The Omissions, the Van Ermans, 7-10 Split, Blueprint 76, and the Mock-Jargon Party play Idle Kids. And...the Suicide Machines are at St. Andrew's. Any questions? Just ask.


The kids aren't alright

Whorehoppin'

Okay, obviously the Eagles of Death Metal (see below) are doin' something right, because I can't get the song "Whorehoppin' (shit, goddamn)" outta my head. "I said shit, goddamn, I'm a man, I'm a man."

Mohammed the White Rabbit

Too many questions to ask about this one. Last weekend, my friends Tim and Erin moved into a new apartment in Hamtramck. We were out in the backyard, and the two neighbor kids had a little white rabbit with beady pink eyes. We asked where they got the rabbit, and they said they 'found' it in the basement. Then we asked what it's name was, and they said Mohammed. First of all, who finds a rabbit in their basement? It is Hamtramck, and anything can happen there, so I guess it is possible. Second, I've never heard of anyone naming a pet Mohammed. Wouldn't that be like naming a pet Jesus? This is just a small example of the endless parade of oddities one can witness in Hamtramck. If you're not already familiar, Hamtramck is 2.2 square miles of (mostly) ethnical goodness completely surrounded by the city of Detroit. I won't go into it's history, because honestly, I don't know it well enough to tell you the facts, and I'm too lazy to look it up right now. What I can tell you is that many of Detroit's Polish, middle Eastern, southeast Asian, and eastern European emigres tend to settle there. Why - I'm not sure. I do know that over 200 dialects are spoken in Hamtramck, and up until a few years ago, the city had more bars per square mile than any other place on the planet. There are bars in homes, bars across the street from each other, and next door, they're freakin' everywhere in that town. It's also home to Kowalski Sausage, American Axle Manufacturing, and Steve's Liquor. Yeah, I know most of you have no idea what Steve's Liquor is, but it's important. Steve's Liquor is one of those party stores that is all things to all people: liquor, food, porn, ATM, cigarettes, lottery, panty-hose, juicy-juice and laundry detergent. Stores like that are important to people who only shop for necessities in the middle of the night. Hamtramck's full of people like that. This is the kind of town that will go and commission a local sculptor to build a statue of the Pope, erect the statue, then refuse to pay for it. The artist actually threatened to take back the statue, so the city paid him. A few years ago, the town ran out of money and couldn't pay their police or sanitation departments. What does that mean? It means you can run all those damned stop signs and there are so many rats in the alleys that you feel like you're experiencing a biblical plague. Ham-town's also good for the Polish restaurants, bakeries, and grocery stores. There's Polish Village, which is in the basement of a building on Yemans between Gallagher and Campau and features truly authentic Polish food. Carbohydrate city. Spaetzel anyone? Right across the parking lot from Polish Village is Polonia (aka Poland Club). This one seems really cheesy inside with the beer company mirrors and red decor, but the waitresses - oh, the waitresses. Young, beautiful Polish women who can barely speak English. The food isn't too bad either, and it's never as crowded as Polish Village. Speaking of food in Hamtramck, my (and my roommates) new favorite restaurant is Salvador Deli. The deli sandwiches are good, but the best part is the brunch, served Saturday and Sunday. It's a very comfortable kinda place where you feel like you could hang out for hours lingering over coffee, cigarettes, and a book. They're always playing good music (well, almost always), the employees are all really cool. We like it. The Hamsandwich is also home to two important Detroit record stores. Detroit has very few decent record stores within it's city limits. Detroit Threads is located right on Campau just south of Caniff, and they have stacks and stacks of records, but - 99% of the records are techno or hip hop. The store also has lots of thrift clothing, which I think was their initial specialty, hence the name. Record Graveyard, also on Campau, but just north of Caniff more than makes up for Detroit Threads' lack of rock n roll. The Graveyard is owned and operated by a man named Jeff who was once a partner in the small local chain Desirable Discs. He keeps a lot of top-notch vinyl in there. Unfortunately, he knows what things are worth, and charges appropriately, but if you bring a stack o' records to the counter, he's gonna give you a deal. Well worth the trip. I could tell you about the fantabulous bars of Hamtramck, but I don't think you wanna hear about that, plus there's just so many. I'll tell you this: there are many bars in Hamtramck, and the majority of them are small neighborhood bars or old-man bars. 'Nuff said.

I think I smell a rat

Peace Love Death Metal

"Together, as Eagles of Death Metal, we have smashed through the void going straight to the top and teaching the world how to boot scoot again" -- from the Eagles of Death Metal official site

Somewhere out there, some of you must be Kyuss or Queens of the Stone Age fans. Okay, at least one. So, this article is for you. Heard the Eagles of Death Metal yet? Josh Homme, the singer from Queens of the Stone Age recently booted Nick Olivieri outta the band for having "too much of a drug problem." Is that possible in a band with such a reputation? I guess so. Anyway, so QOTSA is in limbo, and it's just in time for the release of Eagles of Death Metal's first album "Peace Love Death Metal." Any Kyuss fanatics out there may remember that the EODM showed up on a couple of the Desert Sessions releases awhile back. Most of those 'bands' on the Desert Sessions records are really just one-offs. The Green Monarchs, for an example. Josh Homme plays drums with EODM as Carlo Von Sexron. Josh also sings about half of the songs. Timmy VanHammel plays guitar (origin unknown), and Jesse Hughes sings lead and plays bass. Do not be mistaken, this album is neither death metal, nor a Kyuss/QOTSA clone. They actually cover "Stuck in the Middle" (except they call it "Stuck in the Metal") from Stealer's Wheels, and rip off "Spirit In the Sky!" So, think of those songs, and you'll get an idea of the pace of this album. It's all '70s rock and roll. Nothin' to do with stoner rock or death metal at all. It's really good, too, none of it comes off as metal or hard rock like QOTSA does. This is all out rawk. The singer looks like one of the Village People, though. I think that may be intentional: lots of denim, big cop-mustache, biker cap. It's almost like a joke. The first song "I Only Want You," may be the strongest track on the record as far as immediate surface appeal is concerned, but the whole thing gets better with repeated listens. "Speaking in Tongues" could've been a Cramps song, "So Easy" starts out almost like something from Kiss, "Flames Go Higher" and "Kiss the Devil" have a gospel chorus with a greasy rockabilly stomp (Homme is obviously having a good time playing the drums), "Bad Dream Mama" could be what they're referring to up there when they talk about boot-scooting, "San Berdoo Sunburn" is the track that rips off "Spirit In the Sky," and my personal favorite is the last song, "Miss Alissa," it almost sounds like something the MC5 could've written. The whole record sounds like the songs were recorded in one or two takes (probably because they were). The bass/drums/guitar sparseness works really well with the dual vocals. Unfortunately, Homme can't get away from QOTSA comparisons because his voice is so distinctive. It doesn't matter here, because maybe the choruses sound like QOTSA, but musically, it's so different. Go buy, download, steal this rekkid, cuz it's worth it.

I Only Want You

For the International Workers of the World

What's the first thing you think of when you think of May Day? In an email today, a friend mentioned something about May Day and flowers for everyone. I don't think of flowers when I think of May 1st. I think of the Haymarket Massacre, and innocent labor rights activists being hanged without a proper trial. The US government would like you to believe that May Day as a labor holiday is only celebrated in Moscow's Red Square. Not true. In the years since the WTO protest riots in Seattle (12/2/1999), there have been demonstrations and gatherings to bring attention to May Day as a celebration of labor rights in almost every major city in the world on May first. Here is an excerpt of an article attributed to "l.gaylord@m.cc.utah.edu" on the Anarchist Library website:
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May 1st, International Workers' Day, commemorates the historic struggle of working people throughout the world, and is recognized in every country except the United States, Canada, and South Africa. This despite the fact that the holiday began in the 1880s in the United States, with the fight for an eight-hour work day.

In 1884, the Federation of Organized Trades and Labor Unions passed a resolution stating that eight hours would constitute a legal day's work from and after May 1, 1886. The resolution called for a general strike to achieve the goal, since legislative methods had already failed. With workers being forced to work ten, twelve, and fourteen hours a day, rank-and-file support for the eight-hour movement grew rapidly, despite the indifference and hostility of many union leaders. By April 1886, 250,000 workers were involved in the May Day movement.

The heart of the movement was in Chicago, organized primarily by the anarchist International Working People's Association. Businesses and the state were terrified by the increasingly revolutionary character of the movement and prepared accordingly. The police and militia were increased in size and received new and powerful weapons financed by local business leaders. Chicago's Commercial Club purchased a $2000 machine gun for the Illinois National Guard to be used against strikers. Nevertheless, by May 1st, the movement had already won gains for many Chicago clothing cutters, shoemakers, and packing-house workers. But on May 3, 1886, police fired into a crowd of strikers at the McCormick Reaper Works Factory, killing four and wounding many. Anarchists called for a mass meeting the next day in Haymarket Square to protest the brutality.

The meeting proceeded without incident, and by the time the last speaker was on the platform, the rainy gathering was already breaking up, with only a few hundred people remaining. It was then that 180 cops marched into the square and ordered the meeting to disperse. As the speakers climbed down from the platform, a bomb was thrown at the police, killing one and injuring seventy. Police responded by firing into the crowd, killing one worker and injuring many others.

Although it was never determined who threw the bomb, the incident was used as an excuse to attack the entire Left and labor movement. Police ransacked the homes and offices of suspected radicals, and hundreds were arrested without charge. Anarchists in particular were harassed, and eight of Chicago's most active were charged with conspiracy to murder in connection with the Haymarket bombing. A kangaroo court found all eight guilty, despite a lack of evidence connecting any of them to the bomb-thrower (only one was even present at the meeting, and he was on the speakers' platform), and they were sentenced to die. Albert Parsons, August Spies, Adolf Fischer, and George Engel were hanged on November 11, 1887. Louis Lingg committed suicide in prison, The remaining three were finally pardoned in 1893.

It is not surprising that the state, business leaders, mainstream union officials, and the media would want to hide the true history of May Day, portraying it as a holiday celebrated only in Moscow's Red Square. In its attempt to erase the history and significance of May Day, the United States government declared May 1st to be "Law Day", and gave us instead Labor Day - a holiday devoid of any historical significance other than its importance as a day to swill beer and sit in traffic jams.

Nevertheless, rather than suppressing labor and radical movements, the events of 1886 and the execution of the Chicago anarchists actually mobilized many generations of radicals. Emma Goldman, a young immigrant at the time, later pointed to the Haymarket affair as her political birth. Lucy Parsons, widow of Albert Parsons, called upon the poor to direct their anger toward those responsible - the rich. Instead of disappearing, the anarchist movement only grew in the wake of Haymarket, spawning other radical movements and organizations, including the Industrial Workers of the World.
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With our brothers and our sisters together we will stand - there is power in a union
-Billy Bragg "There is Power in a Union"

Basic Instructions

Please help! I need a job. Anything even remotely associated with writing, audio/visual, advertising, customer service, I'll do it all! No, seriously, I need a better job, or at least a good part time job. Not willing to work in fast food or slow food for that matter. Bartending okay, but no waitering. That sucks. I already have a job in customer service and it's indirectly related to the advertising and post-production industries. I work with many different vendors and clients on a daily basis, and have developed a strong rapport with my clients. If anyone knows of anything, please email me (see list of links for email address). Thanks.

Down and Out in New York City

I take it back. Previously, I stated that I was bored with James Brown. He was played out for me. No longer. I've always known that if you go deeper than the big hits, you can find a lot of rare grooves that blow away the hit singles. Without a doubt, that ideal holds true for The Godfather of Soul's album "Black Caesar." I don't know how I came across it, but I did. Actually, I do know. I was looking for records from Caesar Frazier (baaaad-azz funky organist). For some reason, I found Mr. Brown instead. There's a lot of instrumental stuff here, but that's because the album's a soundtrack for the blaxploitation flick "Black Caesar." If you do go and check out this record, you'll definitely recognize "The Boss." It's in "Lock, Stock, and Two Smoking Barrels." That track in particular actually sounds like an alternate version of "The Big Payback" from The JBs. Other good vocal tracks include "Down and Out in New York City," "Mama Feelgood," which features Lyn Collins on vocals, and "Like It Is, Like It Was," a slow-burn soul track. Check it out.

Blind man can see it

Competitively Priced Corn Dogs

Holy crap, it's hot in Detroit today! Finally. I feel so much more comfortable in shorts. I can ride my bike, I can go out without a coat. I'm really happy about this. And, I found competively priced corn dogs at Burk's Igloo in Hamtramck. I also highly suggest the Boston Coolers. Refreshing. This is a great day for some good roots reggae like Jackie Mittoo or Freddie McGregor, a smooth hand-rolled cigarette with Gauloises tobacco, and ice cream out on the front porch. The neighbors are out, the kids are on their Big Wheels, the ice-cream trucks are infesting the 'hood. I like it. Except the ice-cream trucks. If they shut off their weird CasioTone keyboard music, I'd be happy.

...I call my baby pussycat.

Je vais, je vais et je viens Entre tes reins Je vais et je viens Entre tes reins*

Lots goin' on in the D tonight, kiddies. The Lager House has Terror at the Opera, the Valentinos, and Bisou Bisou. Terror at the Opera features an almost Tom Waits feel with their creepy and haunting yet somehow refreshing sound. The Valentinos features ex-Clone Defects and a couple of Murder City Wrecks playing punk a la Television! Lastly, the headliner, Bisou Bisou, is a band I have yet to see, but I've heard good things. Taken from the Lager House's website: "Sophisticated and sexy French Pop act that revives the ghosts of Gainsbourg and swinging 60's France and parades them around for all to enjoy. From jazzy to rockin' and everything gogo in between." There you have it. The other big show in the city tonight is at the Majestic Theater. This one's big, so pay attention. Opening the night is Detroit's very own Back In Spades. Everyone's talkin' 'bout these guys for a few reasons. First, they sound good. Really good, almost like "Who's Next" era Who. Second, the band features some ex-members of former local mod act Fletcher Pratt (who were also good). Third, yes, this is the facet that's been exploited the most: Jackson Smith, the guitar player is Fred 'Sonic' Smith and Patty Smith's son. That's right, Sonic Smith of the MC5, and the Patty Smith (not Smyth). Jackson plays like his dad, which is good. Very good. That's just the first band. Second up, we have Midwest Product. This band may seem inappropriate on this bill, but you couldn't get further from the truth. Their sound is difficult to explain: real guitars, real drums, vocoder vocals, keyboards, drum machines, and a bit of a New Order-ish sound, yet somehow still rockin'. I don't know how they do it, but they do it well. Midwest Product is from Ann Arbor. Lastly, for the first time in Detroit, their hometown, in over a year, the Electric 6 (formerly the Wild Bunch). That's right, I'm a demon, and I love rock 'n roll. Gay Bar, High Voltage, you know 'em, I know you do. Disco-punk-arena rock-new wave just for you. Doors are at 8pm. Do it now! I command it!

*taken from "Je t'aime moi non plus" by Serge Gainsbourg

We Are the World

So, I have a neat thing on this site. If you scroll down the list of links, you'll see a little white box that says "site meter," and a number. This is how I know how many people are viewing the site. Obviously. The site that provides this service includes much, much more info than just the number of people going on the site. I can see what time zone people are accessing from, I can see what OS they use, I can see how long they're viewing the site, and the most interesting thing is that I can tell roughly what country they're in. Don't worry, there's no personal information, I can't steal your identity or anything like that. Up until installing this little feature, I assumed that just my friends are reading all of this. But, I'm starting to notice a few others who are regularly viewing the site. Someone in Taiwan views it on occasion, which is interesting , I know I don't know anyone there. Recently, someone in the Middle East was viewing it, and the most recent person as of this typing was someone in Sweden. So, that being said, I'd like to hear from any foreign visitors. I'm especially interested in Scandinavian music and wouldn't mind talking to someone who lives there. Get in touch, my email address is listed over there near the top of the links list, or you can also access the message board from the same area. Thanks.

...we are the children.

Adventures in Rock n Roll (Part 2 in a series)

I feel like writing something, and dammit, I'm gonna do it. I could write about moments in music that have affected me. Yes, that's what I'll write about. By no means will this be a comprehensive list of key moments, because there was a time when I might've been a bit of a drinker. And, of course, almost every time I've ever walked into Pine Knob, I was high. These moments also will not be listed in chronological order because of my altered memory due to the aforementioned indulgences.

Speaking of Pine Knob, that brings to mind one of my favorites. It was one of the Lollapallooza festivals. The second stage was off to the side in a forested area. It had been raining for awhile. I have no idea what time it was, I was suffering from a bit of heat stroke due to dehydration from drinking and smoking too much. The sky was overcast and gray, and it seemed like the rain would never stop. I was standing in front of the second stage, and I think I was by myself. No clue where my friends were. I was standing there waiting for the Verve to play. They finally came out onstage. A guitar made the first sound, and as soon as his fingers hit the strings, I swear, the clouds opened up, sun spilled down, and the rain stopped. Considering the celestial sound of the Verve (around the time just before the second album), this made them seem heavenly. Like they were sent from heaven. Crazy shit.

Here's another one. I think it was 1998 or 1999. It was a Saturday night, I was DJing at the Garden Bowl. I think I was playing the song "Nothing" from Negative Approach, so I was definitely on a hardcore punk tangent. The next song was already cued up. It was "Attitude" from the Misfits. "Nothing" was getting towards the end, and I looked over into the lounge because I heard a commotion. There was an all-out brawl going on in there. I saw barstools flying, blood, the whole deal, it was insane. So, not knowing what to do, I went to turn down the music, thinking it might be encouraging them. Ginger, the manager who was also bartending that night turned to me and said, "keep it going, keep it going!" She didn't want customers in the bowling alley to think anything was wrong. Her version of crowd control, I guess. So, I went ahead and turned it back up, hit 'play', and just smiled. That Misfits song is like an anthem for fighting. How appropriate.

Summer of '96. St. Andrew's Hall. The show was Ben Harper and the Fugees. This was back before the Fugees put out there multi-platinum second album "The Score." Ben Harper was good, he always is, but we were really there to see the Fugees. I was with my friend Buddy, and we knew of the Fugees because I was on the college radio station in Port Huron (MI) at the time, and we were playing a lot of lesser-known hip hop back then. The Fugees opened the show, and closed their set with 20 minutes of freestyle. No joke. I admit, I haven't seen many hip-hop shows, but that was pure and real.

Don't ask exactly when, because I'm really not sure. The band was the Greenhornes (from Cincinnati), the event was a free show on the bowling lanes at the Garden Bowl in Detroit. I think it was three years ago, it would have to be because it was right before they put out their second album (the third came out last year). These guys are known for being perfectionists onstage and in the studio. If something goes wrong, they get pissed. They're also known for being a little stiff onstage. Not much movement going on here. So, there was a platform set-up that sprawled across lanes 12 through 14. The opener was Jack White and Brendan Benson doing a set together. That was good, but I wasn't there to see them wank around. I wanted to see somethin' rockin'. Of course, the Greenhornes rocked, but halfway through, they ran into a problem. The big drums from the beginning of "How Does It Feel" from Creation had just started, and Craig, the singer/guitarist fried his guitar amp. First of all, the Greenhornes (at that point in time) didn't play many covers of well-known songs. They always kept it obscure. So, this was a treat. Second, a blown amp is a problem. It looked like he was so pissed, he wanted to stop the song, but he didn't. Instead, he put down his guitar, grabbed the mic and actually jumped off the stage into the crowd and sang the song from there (where everyone was dancing). Best cover I've ever heard of that song, and it was made even better by seeing a normally stiff singer loosen up and get into it.

There's one more I want to tell you right now, but it's actually a small part of a much bigger story. This one involves a band from Sweden, hot sauce from New Orleans, and a lot of pot. I'll save that for the next installment of Adventures in Rock n Roll.

rock and roll ain't noise pollution

The National Debt

The world-famous National Debt Clock in Manhattan is being moved to a new location soon. According to the New York Post article this pic is taken from, the debt is currently rising so fast that the last seven numbers on the clock are unreadable.



...I'll never enjoy the fruits of Social Security...

I'm a Human Fly

Skronk. Imagine if the Cramps and the Jesus Lizard had a baby. David Yow would be the father, without a doubt. What would come out? The Hospitals. I witnessed this insanity tonight at Small's in Hamtramck (Detroit-ish). Two guys: one guitar player, and one drummer/vocalist. I've never seen a drummer pick up one of his own drums and throw it into the crowd, but I saw it tonight. The Hospitals provided one of the most engaging twenty minutes of pure punk fury that I've ever seen. When the guitarist wasn't busy summoning the devils of feedback from his guitar, he was hitting himself in the head with it. The drummer spent half of the show with the mic in his mouth and the only other drummer I've ever seen with a splash cymbal as big as his (28 inches) was Dale Crover of the Melvins. Makes total sense. He ended the show with a slapstick routine where he kept falling on/over his drum kit. Good shit. Detroit doesn't see enough of this stuff.

We Don't Need No Education

Do me a favor, listen to WCSX-FM (94.7FM in Detroit) for a whole afternoon. There are several songs you're guaranteed to hear. One of them is "Another Brick in the Wall," from Pink Floyd. Try to listen to the song and not pay attention to the lyrics or the vocals. Especially the parts where there are no vocals at all. Then, think of the Bee Gees. I think it's a little too close to disco. Why Pink Floyd is considered a 'hard rock' band, I'll never understand.

we don't need no thought control

Cadbury Creme Eggs Make Me Wanna Vomit

I know, I'm a day late. Fuck it. What is the connection? What is the relevance of the Easter Bunny and Christ rising from the grave like a zombie? I can live with the Easter Bunny, and Santa Claus, and the Great Pumpkin, but I have some questions. Why do some Christians get so bent out of shape when people place so much importance in the aforementioned characters because they aren't real, but they follow and worship a man who may indeed have lived, but supposedly committed all kinds of supernatural acts that reach far beyond anything Santa Claus has done. Santa supposedly flies all over the world in the span of one night to deliver toys to children all over the world through their chimneys. The Easter Bunny? He hides multi-colored eggs for delighted children to find. These are harmless myths. But Christ? Gimme a break. Walking on water, turning water into wine (to what end? is getting drunk better than getting hydrated?), and healing the sick by touch are all just ridiculous. Believing in Santa Claus or the Easter Bunny may give you a more positive outlook on life or on peace, but no one puts much into it. Putting all of your faith into the teachings and supernatural meanderings of a man dead for 2000 years is a bit much. Come on, people. I may have a skewed opinion because I wasn't raised with much religion in my life, so maybe I'm too objective. Organized religion has never done much for me. Interesting points are made, especially in the Eastern theologies, but many Christians don't accept those. Buddhists accept Christians, but many Christians think Buddhists are wrong. Interesting, isn't it? When I was 9 or 10, I asked my mom why she made me go to Sunday School. She couldn't give me a good answer, so she stopped making me go. I'll be skeptical til the end, there's no doubt about it. How can anyone possibly think that organized religion is a good idea? If you can't figure out who you are on your own, you can never develop your own personal religion and what's right for you. If you spend too much time in organized religious dogma, you never have a chance to explore others or to find what you really believe. Time here is short, so why would I waste it listening to a bunch of people who would prefer to destroy lovable childhood myths in the name of a zombie?

FOOTNOTE: Don't get me wrong, there are many well-adjusted, normal, interesting, and intelligent people who are Christians. Much of what Christ preached runs along the exact same lines as Buddha, Krsna, Allah, and the various Hindu deities. The Buddhists in particular acknowledge that almost all organized religion preaches the same values. Unfortunately, some interpretations are taken to extremes. Anything taken to an extreme can be dangerous. That's where the problems start. Usually the extremes are reached by religious fundamentalists, like those engaged in war in the Middle East. They're not right or wrong, either, though. Religion is such a vague and abstract thing that there is no right or wrong.

If Christianity's your bag, that's cool, but there's no need to go out and kill abortion doctors in the name of Christ.


Ensuing Darwination...

The Medium is the Massage

What am I doing here? Does anyone realize how difficult it is for me to write? Yet I have to do it. I'm not any good at it, and I'm plagued by my fear that every single word is derivative or plagiaristic. This is what happens when one has a somewhat photographic memory. Everything is a reference to an author or an artist or to pop culture. Hey, is it obvious yet? Can you tell that I totally copped my writing style from JD Salinger, Hunter Thompson, and Will Self? Okay, maybe the latter's a bit obscure, but it doesn't make it any less true. How about my normal topics? Music? Yeah, that's obvious. Especially if you know me. Cultural theory and music? Also obvious if you know me, or you've been reading this site for awhile. Hell, the title of this post is the title of a book from Marshall McLuhan (the man responsible for the term 'global village') . Anyone who majored in communications in college and paid attention should know that. So, with that title in mind, does it mean that what I write is less important or soothing than how I write it? Maybe. I don't know. All I know is that I have to do this. I don't need to know that you're reading it. But I wouldn't mind a little feedback now and then. I know my friends read it, but what about others? What about those who have never met me in person? What do y'all think? Am I just fulla shit? Is all of this futile? Are my music reviews boring? I have this need to enlighten people. The gospel must be spread and it ain't got nothin' to do with church. Except the church of rock 'n' roll, maybe. C'mon, I've been waiting all night for a bite of what you got.

I'm a problem child...

WPCBPCN

If any of you are familiar with the HBO comedy series "Mr. Show," you might remember WPCBPCN. It was the White People Co-Opting Black People's Culture Network. What does this bring to mind? What does this make you think of? When I DJ on Saturday nights, some African-American people will ask me to play rap, and they assume that because I'm white, I'll have Kid Rock and Eminem, because they're white too. Yeah, I'm not joking, that's real. Then, I get asked to play "black music." This usually results in an argument, because I refuse to acknowledge the term. It's bullshit. I could play the Chambers Brothers, they're black. They played psychedelic soul and funk, but it sounds too much like rock 'n' roll. I usually end up playing something like Madlib, or Quasimoto, or Del tha Funky Homosapien. Or maybe I'll play Mos Def, or Aesop Rock. Maybe a little Latyrx or the Herbaliser. Are these names that you think of when you think of hip hop? Possibly. But are you white or black? I don't know when it started, but there's definitely a trend here.

There's no way I can cover all of the acts, and I'm not positive on the origin, but I think this is a start: the Beatnigs. In 1987, a San Franciscan named Michael Franti put out a record as The Beatnigs. The record came out on Alternative Tentacles records. Alt. Tentacles is the record label owned by Jello Biafra, the singer from the Dead Kennedys. Why was a white punk releasing a hip-hop record? Isn't hip hop supposed to be 'black music'? I think there's no need to ask why Jello released the record. It's good, it's political, it's harsh, and it's in your face. Sounds punk to me. I covered the issue of what punk is in a post long, long ago, you can go to the archives if you wanna find that. So, due to the method of release and distribution, the Beatnigs record gained the attention of lots of white kids. AT didn't push the record on mainstream 'urban' radio, because of course they'd never play it. The Beatnigs only put out one record, and it became legend. A few years later, Michael Franti started Disposable Heroes of Hiphoprisy, which was even more political and well-produced than the Beatnigs. It was also more of a hip hop record. The only airplay it got was on college radio. Later, Franti started up Spearhead which has seen airplay on mainstream radio. The whole project is less political, less brutal, and still good, but not the same.

Flash forward three years to 1993. Basehead puts out "Not in Kansas Anymore," another hip hop record that only saw airplay on college radio. Basehead was unique with the folky guitar riffs, slurred vocals, and pop hooks. Much like the Beatnigs, Basehead was the project of one man: Michael Ivey. Straight outta the burbs of Maryland. So, Franti and Ivey are both black men making hip hop, but they're not from the inner city.

In the early '90s, we had the Native Tongues: Jungle Brothers, Tribe Called Quest, and De La Soul. All three groups relied heavily on samples of 'black music' for their samples, lots of jazz, funk, and soul. Much of it was obscure, too. So, all three groups are from the middle-class suburbs of Long Island, NY. They all have had many radio hits on mainstream and urban radio formats. Now, their old stuff is commonly heard on college radio and emanating from mixes made by DJs like me who incorporate many different kinds of hip hop into their sets.

Also in the early '90s, Toronto's Dream Warriors had some big hits on Alternative and college radio. The big single was "Wash Your Face in My Sink." Again, lots of jazz samples in a time when gangsta rap was flourishing. The people wanted hard tales of urban life, they didn't want fun in their hip hop. The early '90s also saw the rise of the Beastie Boys and the Pharcyde. More fun in hip hop. No gangsta BS.

Now, there's a massive surge in underground hip hop. It's the new 'alternative rock' or 'indie rock', which are both really just terms generated by corporate big label music to market and identify music that's actually very disparate in styles. Underground hip hop is no different. You have groups like Gold Chains out on the west coast, who are electro and hip hop and lounge and industrial and micro-house and god knows what else. But, then you also have Madvillain, a collaboration between prolific producer Madlib (aka Quasimoto) and MF Doom. Madvillain incorporates samples from radio shows about villains, rap vocals from MF Doom, Quasimoto, Wildchild, and odd samples.

Madvillain reminds one of Dr. Octagon or Deltron 3030, both concept hip hop records involving talented producers and talented lyricists. Madlib himself has gone far beyond the ideals of what hip hop is and/or 'should' be. He's deconstructed and reassembled the vaults of Blue Note records and Trojan records to make the ultimate mix tape compilations. He's recorded as Quasimoto, his high-pitched alter-ego, and he's everywhere in this 'underground hip hop'.

Some of this underground hip hop is harsh and brutal, it almost is gangsta. For example, El-P, formerly of Company Flow. El-P is the founder of Def Jux records, which set the template for underground hip hop in the 21st century. Def Jux vets include Aesop Rock, Company Flow, Cannibal Ox, RJD2, and Mr. Lif. But, they don't rap about bling and bitches. It ain't like that. This is real. This isn't about the money.

And what about the rest of it? You ever heard of Prefuse 73 or Dabrye? What about DJ Krush? I'm sure you've heard of DJ Shadow, he's doing the same kinda thing as the others, but you've heard of 'im. These are the producers who are pushing the envelope on this underground shit. Some of the biggest tracks of this century so far in hip hop have come from these guys. I'll throw in Madlib because he's relevant, too. Pete Rock and DJ Premier set the templates and these guys are pushin' it further and further.

How many of these acts are from the inner city? Not many. How many get airplay on mainstream 'urban' radio? Hardly any at all. How many are African-American? Most of 'em. Yeah, I bet you didn't expect that, did you? The rest are mostly Hispanic or Asian. So, the reason most African-American people who believe in the idea of 'black music' think that these acts aren't 'black enough' is not because of their skin color. That shit doesn't come through in the music as much as you think it does. It's not because the lyrics aren't gangsta enough. It's simple and stupid: these acts will never get played on mainstream radio. If you listen to Top 40 radio and hear the same song 10 times in a day, you get brainwashed. It's all big-money corporate marketing that paints certain acts as being 'blacker' than others. That's it. Pure and simple. You're all a bunch of sheep.

Let's see what kind of flavor I want...

All of me, why not take all of me?

I can feel it. I can feel the cheap shiraz and the Amstel light mixing in my stomach, giving me the finger. I can feel it. I can feel this week of too much beer, too many cigarettes, and too much work. Fuck the office and the energy-sucker fluorescent lighting. Yeah, I can feel it. My house is a mess, all my clothes are in the washer, and I'm wearing shorts. It's too cold for shorts. I can feel it. When I came to the computer right now, the browser window was on "crustaceans.net." What the fuck? I can feel it. Our couch-crasher raises lobsters in an aquarium in the basement of his parents' house. Yup, lobsters. I can feel it. The demonic ice-cream trucks are spreading like rabbits in heat. That -- I can hear, and I can feel it. Damn them and their tasty ice-cream sandwiches and their evil music spreading like a disease through the neighborhood. Molly's tail just hit me where it don't feel good. I can feel it.

I Wanna Know if It's Good to You

If you don't like the effects, don't produce the cause. Once upon a time, Parliament-Funkadelic actually presented the world with socio-political commentary, and not just dance floor anthems that all sound the same. They were a band, not just a novelty. Everyone even remotely interested in this band should go out and get "Music For Your Mother." It's a two-disc collection of the early 45s, starting with "Music For Your Mother" from back in the days when George Clinton worked at a salon in New Jersey, and Funkadelic was just the backing band for Parliament, a doo-wop group. Up until a few years ago, I was tired of Fundadelic. They were like James Brown in my mind: overplayed and annoying. I had no idea. Three years ago, Alice Cooper played at the Michigan State Fair. I went to the show with my roommate Mike, and our friend Tina. Tina took us to a barbecue before and after the show. The barbecue was hosted by Marco, former guitarist from Rocket 455 and the Paybacks. Long after Cooper's show had finished, I was sitting there sharing a huge jug of champagne with Dave Buick and Johnny Hentch. Everything was kinda low-key, everyone was tired and drunk. There was music playing in the background, and it was probably there all along, but something made me notice it. It was "Maggot Brain," featuring the Hendrix-in-space insanity of the late Eddie Hazel. I asked Marco who it was. He said "look around at everyone who's here. Most of us are or have been playing rock and roll in Detroit for our whole adult lives. When you get to be our age, you get to know all of this music, and you see that there's more beyond what you've already heard." It made sense at the time, because I was just as drunk as he was, but looking back it was nonsense. He was just trying to say that when playing rock and roll in Detroit, you tend to learn the city's musical history quickly. Soon afterward, I went out and bought "Music for Your Mother."

Soul and funk have never been the same since then. I started going deeper, and found out about the JB's, one of James Brown's many, many backing bands. The JB's were originally a loose collective playing out of the Cleveland area in the '70s. Bootsy Collins was an original member. He left the JBs to join Funkadelic. The JBs records all contain songs written by James Brown, produced by James Brown, and originally released by James Brown. Brown also plays the piano, organ, or keyboard on all of it, as well. Here and there, some songs actually have lyrics (sung by Brown, of course), but the instrumentals are what it's all about. The arrangements by trombonist Fred Wesley, the brilliant saxophonist Maceo Parker, that's what it was all about. Brown was merely a ringleader, much like George Clinton to P-Funk, or Frank Zappa to the Mothers of Invention. Pick up the JBs anthology for a taste.

After the JBs, I discovered Sly & the Family Stone. I already had the "Greatest Hits," but that doesn't really count. Sly was a trip. Literally. Starting out, the Family Stone was mainly a psychedelic soul type of affair with group vocals, horns, and upbeat, positive lyrics. But, as soon as the psychedelic '60s ended, so did the Family Stone's good times. Sly (aka Sylvester Stewart) fell deeper into his longtime heroin addiction, and became heavily disillusioned with the ideals he had been preaching. This resulted in 1971's "There's a Riot Goin' On," which featured elastic bass lines, slurred vocals, and a strong Black power stance that set the pace for funk, soul, and hip hop from that moment forward. "Riot..." is probably the best album from the group. Yes, it's downbeat, and yes, it's depressing, but damn, is it good. Check it out.

Lastly, my most recent 'discovery' was Ike and Tina Turner. I saw a re-run of "What's Love Got to Do With It (The Ike and Tina Turner story)" recently, and suddenly wanted to get some. I already had " 'Nuff Said," which I had found at the Record Graveyard in Hamtramck for a buck, but I needed something serious. I needed something visceral. While perusing the new stuff on Dusty Groove, I came across what seemed like the answer: "Funkier Than a Mosquito's Tweeter." This was a re-issue that came out in 2002 on EMI records. It's a compilation of the rockin' funk that Ike decided he wanted to play after touring with the Rolling Stones. There are 21 tracks total, including the title track, a cover of Led Zeppelin's "Whole Lotta Love," and a track from the Ikettes. All of this was recorded between 1969 and 1972, unfortunately, this was also the time that Tina was going through hell with Ike. Sad, but highly worth checking out.

This is by no means a definitive list of funk and soul, but it's a few things that I consider highly influential and important. Also worth looking into are the Chambers Brothers, Curtis Mayfield, the Staple Singers, Isaac Hayes, The Meters, War, the Isley Brothers, Johnny Otis and his son Shuggie Otis, Bobby Womack, Gino Washington, Andre Williams, Kidd Funkadelic, Eddie Hazel solo, Brides of Funkenstein, Caesar Frazer, Ray Charles, The Emeralds, anything produced by Gamble & Huff (Philly soul), Motown (of course), anything on Fortune or Telmay records, and Nolan Strong. It also wouldn't hurt to check out anything on Curtom Records, Stax Records, Volt Records (which eventually turned into Stax/Volt). There are also a few modern labels who have been re-issuing 'lost' or tragically forgotten soul and funk. Some of the more worthwhile modern labels are 4 Men With Beards, Soul Jazz, Acid Jazz, Cubop, and Ubiquity. There's no way I can list everything, but you can find all of this stuff at Dusty Groove, which I linked above.

I'm funk, and I'm proud!

Who Loves the Sun?

What is this? It seems that the kids who grew up listening to Brit-pop have decided that they're gonna play rock 'n' roll. Tonight, for the first time, I witnessed big-hype-band of the moment, the Ponys. They live up to it. Think of early Roxy Music swagger, crossed with "White Light/White Heat" era Velvets repetition, crossed with just a little bit of Suicide synth. That's Chicago's Ponys. Drums, bass, two guitars, and a guitarist occasionally playing a keyboard. Not all that original, but for a Suede fan like me, highly entertaining. Go check 'em out.

just like Sister Ray said

Erotic Neurotic

D-d-d-dance party at the d-d-d-dj booth. You shoulda been there. It was a good time. Last night was one of my better Saturdays in my (almost) seven years of DJing at the Garden Bowl (Detroit). Punk rock and hip hop and rock 'n' roll and soul. Teeth clenching, hips twisting, knees jerking. Say it loud, say it proud, true evil has glamour and sex appeal. I was told that someone who doesn't know me asked if I was 'weird'. Still not sure what was meant by that, I should probably ask her. She asked if I was weird because I was drinking wine? Is it because I'm a man? Is it because I was wearing a black t-shirt with a skull and crossbones on it? Is it because she's from Russia, and men from Russia don't drink wine? Wine is good, wine makes me wanna dance. Naheed says that wine is an emotional drunk. That's good, right? She says she always ends up crying when she drinks wine. I always end up happy. Thanks to Holly (my dance partner- I'll grow back the beard someday, I promise), Dom (by way of Texas, checkin' out the D), Jill, Johnny, Logan (please, next week can we have no incidents with spilled Jack Daniels on my CDs?), Katie, Angela, and Chris for comin' out. Special thanks to Snow White for still wanting to be friends.

...and we can dance, dance, dance, dance, dance to the radio...

Pgymies in Zee Dark

Detroit, like any other somewhat urban city has it's share of music venues that double as art galleries by day. Last night, I went to one of these venues, the Detroit Art Space. Located in Detroit's New Center area, the Art Space is host to many shows that probably wouldn't get a decent venue in the city if it weren't for them. There are similarly sized venues, but the kids wouldn't go to the Shelter to see the Piranhas, that's all there is to it. Last night's show was Human Eye, the Piranhas, and Old Time Relijun (yes, that's the way it's spelled). I've written about Human Eye before in this forum, they're a good art-damaged Chrome-type thing. Of course, the show last night was brutal as usual. The high point of the night was the Piranhas. For the uninitiated, the Piranhas are...different. Drums, bass, guitar, keyboard, and one very emotionally disturbed man writhing around on the floor in front of the stage and throwing garbage cans at audience members. I think he almost killed someone when he was swinging the mic stand. It ain't no schtick, either, most people find it difficult to talk to him under any circumstances. If he'll talk to you. I should tell you that the music itself is good, too, it's just hard to take your eyes off Jaime. The rest of the band is fairly static while he's flailing himself off the stage. They just stand there, but they're a good foil to his theatrics. When the band started out a few years ago, they managed to get themselves banned from every venue they played in town. Jaime likes to break things. Then they broke up, their first album became an underground hit, and they got back together. They no longer break PAs when they play, but the show is just as intense. It's punk rock in it's rawest form. No joke. If you can stand far enough away to not get hurt, you'll be aurally assaulted, anyway, but you'll like it.

TV as eyes...