Volume 5, Issue 1

APRIL 17,18,19

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14 Repressed 18 Squirrelly Girls 20 Mike Moses 24 Matt Lively

MUSIC

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The Pack A.D. Liza Kate SXSW Pulp Tones Reviews

OPINION

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DAY Y A M : V I EPRESSED rat es l Wo r ker s’ Da y, cel eb Ma y 1s t, Int er na tio na r ker s’ str ug gle . wo ide ldw r wo , an on go ing s in rena tio na l ho lid ay wa Ori gin ally, the int er eig htan for ht fig s 80 18 me mb ran ce of the we re s ker r wo en wh e g a tim ho ur wo r kda y du rin g ho ur s. Na tio nlon ly an um inh k r for ced to wo wh ich og niz e thi s ho lid ay, ally, we fai l to rec to a ht rig the for s ike str 00 ma r ks the fam ou s 0,0 50 ted ima est by an s rea son ab le wo r kda y Ch ica go , the str ike in ng ati gin Ori wo r ker s. lly. na tio soo n spr ead na 14

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lea de r s – Alb er t go wo r ker s’ rig hts Th e res ilie nt Ch ica an d Ge org e En r ies , Ad olp h Fis che Pa r son s, Au gu st Sp Go ver nm en t in tes Sta d ite Un the by ge l – we re exe cut ed ly on Ma y 3rd . ral a at n ow be ing thr po lice br ures po nse to a bo mb of s act to in ret alia tio n d sev era l an Th e bo mb ing wa s s ker r de ath s of six wo tal ity, lea din g to the ike s. Th eir live s str t 1s y Ma go ica Ch wo un de d du rin g the r ker ’s Da y. gh Int er na tio na l Wo are cel eb rat ed thr ou eva nt tod ay wit h iss ue s suc h as ll rel Th is str ug gle is sti l pa y for eq ua l hts , wo me n’s eq ua mig ran t wo r ker s’ rig eco no mic hit me n, eco no mic imor, to pla ces far wo r k, sw eat sho p lab urc ing . Pe op le tra vel ida rity wit h pe ria lism an d ou tso sol w sho to e com for t zon fro m ho me an d the ir

to be tre ate d ug gle for the rig ht an int er na tio na l str ite all ar tis ts inv We . sin g sys tem hu ma nly in a col lap t you r wo r k ibi exh thi s str ug gle to wh o are inv olv ed in d IV: Ma y Da y”. sse pre “Re n, tio ibi in ou r up com ing exh to be on Ma y Ar t Wa lk ha pp en s Ma y’s Fir st Fri da ys nce the Ma y de nci s for tui tou s coi Da y. So in lig ht of thi l be a cel eb rat ion of wo r ker s’ wil exh ibi tio n at Ga ller y5 uca tio n an d act ion ! ed t, ar gh ou thr rig hts wil l be mo re tim e wh en ou r sile nce ” - Au gu st “Th ere wil l com e a tod ay! gle an str you ces po we rfu l tha n the voi cut ion .

Sp ies , up on his exe

ad e! Br ea d an d T he Ma y Da y Pa r Fri da y, Ma y 1s t. s T he ate r Co mnin g All the Sa int Pu pp et wil l be joi ce le br ati on of in d on hm Ric of ns tio n wit h Ga l pa ny an d the cit ize nc nju co In ke r s’ Da y. be ma r c hin g Int er na tio na l Wo r l wil ne d IV, e ve r yo ler y 5's Re pr es se big mu sic du rin g Ma y 1s t, Fir st an d wit h big pu pp ets at 7p .m . Br ea d Cla y Ab ne r Pa r k at et Me y.

Fri da d pe rfo r mi ng an an sic mu pla yin g & Pu pp et wil l be sto ria s, at Ga l nte ca ee t the ate r, me r s an d pa ran cie nt for m of str r rfo nig ht. Ot he r pe ler y5 lat er in the lf, All the Sa int s Se n so Ali ts, es gu tic ipa nts ar e loc al an d mo r e.

T he ate r Co mp an y, r 30 ar tDa y wil l sho wc ase ove Re pr ess ed IV: Ma y the Sai nts All by e ad r Pa y Da y ist s wit h a spe cia l Ma y 1st -M ay T he sho w wil l be Ma T hea ter Co mp any.

1st fr om y Ma ece pti on on Fri day 29 th wit h op eni ng r 7p .m. -11 p.m .

Gal ler y5 g alle r y5a r ts.o r g 200 W. Mar sha ll St. Ric hm ond , VA 232 20 (80 4)6 44- 000 5

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Low P r essur e Sys te m

t h e at m osphe r i c c o n d it io n of t h e s q u ir r el ly g i rls S. Pr e s t on D unc a n

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Were the ar tist doomed to toil under the semantic weight of aesthetic philosophy, their wor k destined for dusty overhead projector s in uninspiring seminar s, their life str apped to the cold steel tables of academic dissection – awaiting judgment – this wouldn’t exist. T her e is no popular movement behind the sav age, glitter y footprints of tor nadoes. There is no r edefinition of sculptur al intent within the inevitable blues and slow souther n stor ms, r umbling in old windows like har monica lips and illuminated porches. Amidst the fr antic scur r y to find the shelter of categorization and pr estige, the Squir r ely Gir ls dance for hur ricane season and invite in the wind.

It’s under standable coming from a group of ar tists who for med under the centr al tenets of collabor ation, interactive processes and unpretentious fun. T his is not to say that the ar tists involved ar e not serious about their wor k, or that they would usually identify as Squir r ely Gir ls.

The Squir relly Gir ls (SG) wer e bor n out of the VCU gr aduate ar ts depar tment under the heavy consciousness of 9/11. And like hippies leaping for th from the social sterility of previous gener ations, they seem to have r eacted by enter taining boundless imagination, er ecting monuments to the viability of fantasy. If they’ r e not taking ar t out of the galler y, they’ r e usually bringing nature in.

But SG is a fluid group with only a few cor e member s, who may or may not involve themselves in any par ticular installation. Their upcoming show, “Supercell”, dr aws on a motley crew of ar tists from the far cor ner s of medium and creative propensity. T he theme of summer

stor ms was left open to inter pretation, and ther e is no ar tist with jurisdiction over wor k post-production. In fact, the majority of the show will probably be a sur prise to the most lasting member s of the collective. This makes it difficult to attain even a conceptual description of most of the wor k, let alone documentation, over a month befor e the opening. But I had a chance to talk to a few of the ar tists, and see some of their wor k. Sor t of.

It’s 2 a.m. on what is now Wednesday, and I’m standing in a vacant lot somewhere in the alphabet par t of Church Hill. Around the cor ner is the home of Stu Hollins, who I find myself helping to move a 10-foot salvaged doorfr ame and a splintering old window from the top of his car. Stu is a sculptur al ar tist with an uncanny ability to solicit help from whoever happens to be around at any par ticular hour. He is setting up the fir st stage in an evolving installation/perfor mance piece and invites me to come check it out.

Stu has been a close friend of founding SG member, Sandr a Luckett, for a while now, and upon his retur n to Richmond from volunteer K atrina relief in New Or leans (and a few other stops along the way) she asked him to par ticipate. He impressed upon me that he was in no way representative of SG. S. Preston Duncan: So how did you get involved in the show?

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Stu Hollins: Sandr a helped me install [my] luminaries piece (Illuminated Landscape) in New Or leans and has a pr etty intimate knowledge of my wor k and me as an ar tist; and that seems to be how most people ar e invited to be in the SG. It’s through association with each other’s wor k and with each other per sonally.

SPD: Wher e does this piece come from?

STU: Basically, when Sandr a told me what the theme was, my immediate thought was of my fir st apar tment in T he Fan, on Grove Avenue. I had a fir st floor apar tment with a balcony that didn’t have an entr ance except from the apar tment. It was right next to the sidewalk – and ther e wer e bushes – so there was this real mix of me being priv ate and in my own little space, but right next to the public and r andom people walking by. On sever al occasions we had incredible thunder stor ms, and I would gr ab my har monica and go sit on the porch, listen to the r ain, and see the illuminated landscape from the lightning and hear the thunder and play. It was this sur ge of ener gy between the excitement of being near that much power, and the comfor t that I had of being in that little space. And I’m sur e people heard me, so I’m playing for them, but I’m playing for myself, talking to them without talking to them.

SPD: How do you feel about glitter?

STU: I love glitter. I do not use glitter. A lot of my friends use glitter, but it’s not my vice.

T he Kitsch has a pr etty strong thr ead r unning through all of the SG, which is an aesthetic that I appr eciate, yet don’t employ nor mally – though I have done some pr etty kitschy shit. But it’s mor e the use of it within the SG that’s like yeah, it’s kitsch; but ther e’s a hear t that’s evoked, and a soul that’s evoked through these soulless things. Sandr a uses a lot of materials that you find in dollar stores and Japanese mar kets and ‘60s motels, and like South Of T he Border, but she uses materials that have that histor y to talk about the hear t of that histor y. She uses it and tr ansfor ms it while still honoring the stor y of, say, the woman who rides 18

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tr uck with her man, and you meet her at the tr uck stop. From looking at her she’s got a fucked up life, but she loves her Beanie Babies, and will tell you all about the little wor lds they have together. Within that initial superficial, writing off of the kitsch, they tur n it around and let you see the woman with the Beanie Babies instead of just the methhead at the tr uck stop.

As his piece stands, it is a sor t of found theatrics in which he occupies a rocking chair in front of a free standing window and door, dr essed in white over alls and socks, playing the har monica.

As it evolves, the fr ames will be sculptur ally r eplicated and inter nally house lights, giving them a glowing effect, as though frozen in the moment of a lightening flash. A kick dr um pedal will peri odically connect with a piece of sheet metal, placed behind the window, fully capturing the experience of a front porch stor m: the sensation of lightning halting time while the thunder rolls past.

A kinetic piece by ar tist Kristin Beal-DeGr andmont, in collabor ation with HackAr tLab ar tist Tom McGuire, will consist of a series of jar s filled with water and glitter made to swir l, causing a tornado to for m with debris circling around it.

Suzanna Fields, a local ar tist, is contributing a piece called “Hydrologic”. Her r ecent wor k has focused on anomaly and chaos within pr ev ailing str uctur es. We talked a little bit about what dr ew her to the show, and SG in gener al.

“Sandr a’s description of ‘Supercell’ evoked weather systems that ar e ripe for a serious stor m,” Fields said. “That focus fits ver y well into the ongoing investigations in my body of wor k. A centr al focus in my wor k is the beauty of failed order, systems and patter ns and their deviations, and processes of rejuvenation and oscillation. T his is my fir st time par ticipating in the Squir r elly Gir ls. What most speaks to me about this loose amalgamation of ar tists and ar tistic per spectives is how they are unified by playfulness and humor that is tinged with a sense of longing and nostalgia.”

If you’re still unsure as to what the show will look like as a whole, it’s probably because you’ r e supposed to be. The lack of hier archal or ganization within SG and diver sity of the ever-changing ar tists involved create a bar rier to any extensive for esight. But this also insur es a sense of spontaneity, which reverber ates through all the pieces, whether they ar e the product of endless studio hiber nation, collabor ative experimentation, or dr agging heavy shit around in the middle of the night.

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Mike

Moses C o n art i st. G en t lem a n t h i ef. Hac k tatto o er D a na B ir m ingha m 20

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A lit t le p r e f a c e a c t io n: a m id s t t he s m o k e a n d s p ille d b r e w a t a lo c a l w a t e r ing ho le , t hr e e f r i e nd s s it d o w n t o d is c u s s a r e c e nt s ur ge in w or k f r o m a lo c a l R ic hm o nd t a t t o o e r a nd a r t is t . W ha t s t a r t e d o ut a s a s m a ll f ir e lit u nd e r t he a s s o f a lo ng d o r m a nt ur ge , b e c a m e a f i ve - a la r m f ir e . N o t a buc k e t in s ig ht .

D a n a B i rm i n g h a m : Yo u h a v e b e e n t a t t o o ing fo r a w hile no w. B a s ic a lly yo u ha v e jus t b e e n r e p r o d uc ing o t he r p e o p le ’ s id e a s t he w ho l e t im e . H o w d o yo u f e e l a b o ut t he f a c t t ha t yo u a r e no w e m b a r k ing o n yo ur o w n s ho w w it h a ll o f yo ur o w n w o r k ?

M i k e M ose s: We ll. I ha v e been t at t ooing for a b o ut f i v e ye a r s in R ic hm ond. As f ar as t he a r t s h o w go e s it f e e ls lik e a v alidation of me a s a n a r t is t . I t ’ s ex t r e m e ly liber ating. I w asn’ t b o r n a t a t t o o e r, I w a s b o r n an ar tist. I am a g lo r i f i e d hum a n Xe r ox m a c hine. People come t o m e a nd s ay, ‘ C a n yo u c over up my Angelina Jo lie d r a go n?’ w hic h is a d owner. T hen a g ain, w he n yo u ha v e t he p e o p le that come in and w a nt s o m e t hing a m a z i ng, I love it. T his ar t s ho w ha s b e e n v e r y lib e r a t ing... getting bac k t o o r ig ina l c r e a t io n. I a m alr eady planning my nex t s ho w. To us e a m e t a p hor, I ’ ll be dis s olv-

ing the l ine between dinner a nd p la t e , a s a s t a r t . I t ha s been a long time since any t hi ng b e s id e s my jo b ha s consumed my life like this, s o it ha s b e e n a m a z ing.

by na t ur e a nd d id n’ t ha v e a lo t of for mal tr aining.

I a m a n illus t r a t o r. T his is m e b eing pushed, tr ying t o d o s o m e t hing n e w.

D B: How do you feel a bout t he c o ns t a nt s t r e a m o f ‘Sp r ing B r eak 2009’ tattoos.

D B : I w a n t e d t o a s k yo u a b o ut t he ‘All-Seeing Eye’, b e c a u s e t ha t s e e m s t o b e yo ur stamp or calling c a r d . I t p e r v a d e s yo ur w o r k . W hat does t hat mean t o yo u?

MM: It c ontinues to v ex m e …

D B: W hat w as your inspir a t io n fo r t he e nt ir e s ho w ?

T he r e seem s to be an entir e my t ho s b e hind it .

MM: I gr e w up in a Souther n B a p t is t ho us e ho ld . T he r e w as nothing mor e boring t ha n t ha t . Fo r a lo ng t im e I w a s fe e ling c heated bec aus e a ll a r o und m e w e r e r e ally ric h, colorful and inte r e s t in g r e lig io ns. I g ue s s the gr ass is alw ays gr eene r. I m e a n he ll. . . p a g a nis m is coo l. Kr ishna is c ool. Nor se my t ho lo g y is c o o l. C hr is t i a nity w a s like w hite br ead, ho ld t he e v e r y t hing.

T ha t w a s in shor t the inspir a t io n b e hind t his ; I s o r t o f cr e a te d my own deities and go d s t ha t li v e t hr o ug h t he wor k itself. It’s all a mix of d if f e r e nt b e l ie f s y s t e m s a nd r eligions the wor ld over. And jus t lik e a ny w he r e e ls e , you’ ll find good intentions a nd b a d o ne s. T he la r ge r acr ylic paintings ar e r e pr e s e nt a t io ns o f go o d id e a s and goo d will. T he smaller ink d r a w ing s a r e a ll o f a male volent natur e. De pend ing o n w ha t yo u’ r e lo o k ing fo r, the r e is som ething or s o m e o ne he r e fo r yo u t o f ixate on. And I think that the r e is a r e a l b a la nc e , w hic h you won’ t alw ays find in r elig io n. T he s e r ie s is a ls o m e tr ying to br eak into a ne w m e d ium . I a m no t a p a int e r

M M : I t ’ s s o m e t hing t ha t I t o o k to ear ly on, e ven b e fo r e t he inc e p t io n o f t he s how. I t has impact .

I t ’ s s ublim ina l. I t ’ s o n t he b a c k of t he f uc k ing dol la r b ill. I t a p p e a r s in t he w o r k t o gi ve a s ens e o f c o ns is t e nc y, a c o nt inuit y o f des ign, but mos t im p o r t a nt ly it s o r t o f d e v e lo p ed it s ow n myt hol o g y t o m e a nd it ha s it s o w n my stique. It’s putting a p ie c e o f my s e lf a s a b e ing into the wor k as a w ho le . T he All- Se e in g Eye is s ymbolic of G od, or t he a r c hit e c t . As t he a r c hit e c t of my wor k, this is m e b e ing p la c e d i nt o t he w o r ld t hat I have cr eated, g i v ing it a ll lif e .

D B : Yo u ha v e a s im ila r s t y le t o a r tists suc h as Keith T ho m p s o n, s o m e o ne w ho s e w o r k tr anslates well to o t he r m e d ium s, s uc h a s d i g it a l or video g ame des ig n. H a v e yo u e v e r g i v e n t ha t any t hought ?

M M : I w o uld no t b e t he le a s t b it upset doing things fo r a d ig it a l e nd , but I a m no t originally that kind o f a r t is t . T he r e a r e jus t t o m a ny little things that ne e d t o b e d o ne in t he c o nf ines of a pr o gr am. I ne e d im m e d ia t e g r a t if ic a t i o n. T hat is w hy I’ ve been ART

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us in g a c r y lic s. I t ’ s a s t e p a b ov e p e n a nd p a p e r, w hic h i s w ha t I us e d t o o nly us e b e fo r e I s t a r t e d t a t t o o ing. I c a n’ t s t a n d t o le a v e a p ie c e a lo ne a nd c o m e b a c k t o it la t e r.

I ’ m t o o d a m n im p a t ie nt !

I r e a lly d ig t he id e a o f s o m e o ne c o m ing t o m e w it h a p r o ble m t o s o lv e . I f I d o n’ t ha v e a p r o ble m t o s o lv e – a s p lint e r t o ge t o ut – t hen I e nd up b e ing f a ir ly unp r o d uc t i v e . I ne e d f r ic t io n, I ne e d g uid a nc e . Re g a r d le s s o f e d uc a t io n o r c o nne c t io ns, I ha v e t he ur ge t o c o m p le t e t his go a l. H o w e v e r lo w b r o w o r hig hb r o w it m ay b e , I ’ v e ha d t o c o nfo r m t o d r a w ing fo r t a t t o o s fo r ye a r s, s o i t ha s b e c o m e t he w ay I d r a w. T he f a c t t ha t e v e r y t h in g lo o k s s o s im p l e ye t s o de t a ile d is w he r e I a m a t a s a n a r t is t . I’ m no t c o o l e no ug h t o c o ns id e r my s e lf a ‘ lo w b r o w ’ a r t is t . I f e e l lik e a ‘ hig hb r o w ’ a r t is t s lip p ing in t he d ir t y b a c k d o o r.

D B : W hy d o yo u p a int o n w o o d ?

M M : I d o n’ t lik e c a nv a s, it s t o o m e t e r e d . T h e r e is t he s a m e num b e r o f lit t le s q ua r e s e v e r y w he r e yo u lo o k . Pa p e r is e q ua lly b o r ing. I lov e t he g r a in o f w o o d . I t ’ s na t u r a l a nd b e a ut if ul. (Ins e r t my g ir lf r ie nd c a lling m e a hip p ie . ) I f yo u c ut s o m e o ne ’ s a r m in ha lf yo u ha v e a ll t he s ine w a nd ins id e s a nd b o ne . T ha t ’ s j us t ho w t he w o o d is. I t ha s c ha o t ic but p ur po s e f ul d e t a il. N o t w o p ie c e s o f w o o d a r e t he s a m e . T h e g r a in is d if f e r e nt f r o m a ll a ng le s a n d a p p r o a c he s. I t s him m e r s w he n li g ht hit s it t he r ig h t w ay. . . it ’ s jus t s o m e t hing yo u w o n’ t ge t o ut o f a ny t h in g e l s e . As it t ur ns o ut , o a k is my s p e c ie s o f c ho ic e . I t is o ne s t e p a b ov e p a int ing o n a c a v e w a ll a nd . . . I t hink 22

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tha t’s a hell of a c onc e pt.

t ur ne d o ut t ha t w ay it d id w it ho ut t ha t a lbum .

D B: T his is just me going fo r s lo b k no b a c t io n. I have seen other tattoo ar t is t s ’ w o r k , but t his i s the fir st tim e I hav e seen s o m e o ne s t e p o ut c o m p le te ly fr om tattoo ar t. Why is t ha t ?

W ha t I ha d b e e n lis t e ning t o d ur ing t he c o n c e p t io n p ha s e w a s Blood Mountain by M a s t o d o n. Ag a in, t he t ex t ur e s, t he c o m p lex it y. Yo u c a n lis t e n t o t ha t a lbum a m i llio n t im e s a n d he a r s o m e t hing ne w e v e r y t im e . T hey a r e d o in g s o m e t hing c o m p le t e ly d if f e r e nt f r o m a ny o t he r b a nd o ut in t he m e t a l s t r e a m r ig ht no w. T hey ’ r e m o r e t ha n jus t a m e t a l b a nd , a nd c o nc e p t ua l ly t hey a r e v e r y ins p i r ing. H o w e v e r, t hey c a n b e q uit e a g g r e s s i v e , w hic h is g r e a t t o d r i v e t o ; bu t I d id n’ t w a nt t ha t s o r t o f a g g r e s s io n w he n i t c a m e t o t he c r e a t io n s t a ge , t hus t he c ha nge .

Blood Mountain k e p t m e m o s s y. I t k e p t t he c r e a t i v e juic e s f lo w ing. B e ing a t my jo b, w e lis t e n t o t he s a m e b a s ic s hit e v e r y d ay, a nd it ’ s a lm o s t t a x in g s o m e t im e s. A lo t o f t im e s I ’ ll j us t s it in t he q uie t w he n no o ne e ls e is a t t he s ho p. So in my f r e e t im e I ha v e b e e n ex t r e m e ly p ic k y a b o u t w ha t I lis t e n t o. And w it h t ha t , I a m go nna p ay my t a b a nd ge t t he f u c k o ut .

MM: I hav e ne v er had a c all t o r e v e r e t y p ic a l t a t to o a r t, bec ause I w as a ‘ f ine a r t is t ’ f ir s t . H o w e ver, that is not to say tha t I d o n’ t lov e it , bu t my br ain has been so eat e n up w it h s k ulls a n d da g ger s fr om w hat I tattoo e v e r y d ay. T he r e a r e n o ne w ideas – period… only ne w a p p r o a c h e s. G i v e n that, my ar t is my attempt t o s ho w p e o p le t ha t o l d id e a fr o m a dif fer ent angle.

D B: A lot of ar t c oinc ides w it h m us ic . W ha t ha v e you been listening to w hile p r o d uc ing t his b o dy o f wor k?

MM: It c om es to m ind in t w o a ng le s : in p r o d uc tion and pr e-pr oduction. T he t hing t h a t I l is t e ne d to the most r e ver ently w hile a c t ua lly p r o d uc in g wo r k w as the sec ond CD o f To m Wa it s Or phans r e le a se , c alled: Bawler s . It ha s t his a m b ie n t q uie t feel... a lot of textur es. You c a n r e a lly f e e l it . T h e man has ne ver ceased to he lp m e in a c r e a t i v e sense. It’s a r eally inter est ing t hing, b e c a us e yo u tend to a bsorb the music tha t yo u a r e lis t e ning t o w hile b eing c r eati v e. Alm os t by o s m o s is yo u p ic k up e ve r y thing c hur ned out w he n yo u’ r e no t g i v ing music your full attention. T his s ho w w o u ld no t ha v e

Mike Moses “Mote: An Exercise in Will” May 1st-29th Opening reception Friday May 1st 7 p.m. -11 p.m.

116 W. Marshall St., Richmond, VA 23220 (Beside Gallery5) Check out more of Mike Moses at sleepdangerously.com ART

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e ly v i L t t a M me G o e s H ob o u t ks a ( a n d ta l

m ag e d A mr pietro Janet Gia

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Painter/sculptor Matt Lively is not your typical ar tist. He is not steeped in liberal political thought, doesn’t like standing around looking at ar t objects and – horror of horrors! – lives in Brandermill. He is more like an exper t craftsman who knows his tools and his medium, and with them can build something fine and solid and beautiful. And then he’s happy to sell it to you – provided, of course, that you love piles of sheep. And who doesn’t love piles of sheep?

In his new show of paintings and sculptures, “Home”, opening April 17th and running through May 23rd at Red Door Gallery, there will be plenty of piles of sheep and unsettling little houses, eerily domed in glass, each connected to its own ventilation tube. It may carry the comfor ting title of “Home”, but it isn’t exactly a vision of suburban tranquility. It makes you wonder about a guy, so I asked him about the new show and whatever else was on his mind – like global warming, science fiction, and, unavoidably, Armageddon.

Janet Giampietro: There often seems to be an unspoken narrative going in your work. For example, in your painting “The Fable of the Transatlantic Tube Train”. That was based on a whole story in your head that you researched quite a bit. I know a bit about the evolution and of these pieces in your new show, but could you give us some more insight as to the backstory that ties this show together?

Matt Lively: This work all stems from an idea that I originally had as a kid. When I was 7, living in Louisville, KY, there was a wicked-bad snowstorm where it snowed a couple feet and we missed school for over a month. We watched the news every night to see if school was cancelled the next day. Every night the weather person talked about how cold it was, but the cold was made especially cold by the “wind chill factor”.

I thought that the weather person was saying the “wind chill factory”.

I remember thinking that it would be a good idea to shut that factory down so that it wouldn’t be so cold and we could get back to school.

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Later, I thought that the idea of a Wind Chill Factory and a little town whose main industry was manufacturing “cold” would make a good children’s book. I lucked into hooking up with one of the best writers living on the planet Ear th (you)! I’m excited that you took it from an idea to a children’s book to a slightly longer book to shor t film (directed by Alex Germanotta). So, I am currently making sets, miniatures and backdrop paintings for the shor t animated film and those are some of the things that will be included in the new show.

JG: When I look at these pieces, at least for me, I’m hit with a very striking environmental message. Is there a cautionary subtext to all this? Is this where we are headed when our air becomes unbreathable or when the planet gets too damn hot?

ML: We will cer tainly cause our air to be less breathable if given enough time…a really long time. I believe that we will also discover ways to reverse the effect. I like the idea of the fix being a combination of people reducing what it is that is thought to cause global warming and industry developed to mask it. If it is true that people are the cause of global warming then it should also be believed that people could invent ways to reverse the effect.

not a concrete day when you can determine that it has officially stopped. A more pressing and factual danger would be asteroids – like the one that almost hit ear th a month ago. We can see them and possibly develop ways to deflect them. But asteroid hunting and deflecting is not a growth industry because a citizenry that can see asteroids coming will not continue paying after knowing they’ve passed.

The big scare of global warming is the oppressive governmental controls that will be crammed down our throat in order to fix it. Those in power will convince enough people to give up their money and agree to be told what to do to save the world from the impending doom of climate change. Global warming is a perfect scam because the natural cycle is so slow – there is

JG: There’s something oddly out of time about these pieces – sor t of archaic and futuristic at the same time. Do you see these pieces as representing any par ticular time?

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ML: No. I try to make things that would be relevant over a wide span of time. If someone dug up my

studio after the global warming ice age, they would recognize what I was making, because I generalize my subjects to a very basic point.

JG: Speaking of simultaneously old fashioned and futuristic, you’re pretty much obsessed with the 1960s TV show, Lost in Space , a show most readers of this magazine have never seen a single episode of. Can you explain the allure of corny zipperup-the-back, tin-foil-robot sci-fi for a generation that’s grown up on CGI? Has any of that aesthetic found its way into your ar t, either consciously or unconsciously?

ML: The allure of that “corny” sci-fi is that it was real. Real. The robot, the spaceship and the people were real, three-dimensional structures. They were space-camping, and I could identify with the idea of a family taking a long road trip in space.

CGI images only exist as soulless, choreographed and immediately unbelievable two-dimensional cartoons. I am friends with Bill Mumy on Facebook though.

JG: Sci-fi pop culture offers us two distinct visions of the future. There’s the bleak hellscape of a post-apocalyptic world (ala, Blade Runner ) and the technologically dazzling but sterile and corrupt world (ala Gattica and 2001 ). Which future do you think we’re headed for? Which one would you rather live in?

ML: I think that we are headed for Idiocracy , but I’m better prepared for Road Warrior .

JG: I’m going to tell you honestly that when we first met and were getting to know each other, I didn’t know what to make of you. You have such a laconic, even deadpan way about you that I could never tell when you were serious. In shor t, most of time I had no idea if you were putting me on. Now that I know you better, I know you don’t often say anything you don’t truly mean. But I will admit now and again when I look at your paintings, like piles of sheep, for instance, I still wonder, “Is he putting us on?” So, are you?

ML: Yes. JG: Other than your teaching at VCU and the VMFA,

painting is how you make your living and how you suppor t a family of four. That’s got to pretty scary in the worst economy in generations. What’s your economic sur vival plan, shor t of going to work at Home Depot?

ML: My plan is to make good stuff and diversify. I’m currently working on projects that are por table. The Wind Chill Factory and other films can be made into DVDs and sent all over – plus it can be put in front of people on the Internet. After The Wind Chill Factory book and the children’s book Sword, Armor, Dragon (that you and I are working on) are published it will allow me to have shows in places that I normally wouldn’t have an audience. I’ll continue to work constantly and surround myself with people that are smar ter than me.

JG: So, back to the future. We’ve talked about Armageddon quite a bit, you and I. I know you’re ready! But really, who’s going to sur vive – the well-prepared, intelligent people like us, or the barbaric idiots who will eat you just as soon as look at you?

ML: A couple of intelligent people leading a small army of well-armed barbaric idiots will be the only sur vivors. Save all the beef jerky and canned foods you want – someone with a gun is just going to take it.

“Home” April 17th - May 23rd Opening reception 7 p.m. – 9 p.m. Friday April 17th RED DOOR GALLERY 1607 W. Main St. Richmond, VA 23220 (804) 358-0211

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T ea rin’ Sh i t U p A n int e r v i e w with May a Mil l er o f The Pack A. D. Mik e Rut z

Wa tc hing T he Pac k A.D. tak e s m e t o a n a lt e r na t e uni v e r s e . One w he r e Jo hn B o nha m a nd J im my Pa ge decided to kee p Led Ze ppelin a s a t w o - p ie c e . And t hey ’ r e f r o m C a na d a . And t hey ’ r e b o t h f e m a le . Eh, it ’ s p r ob a bly just the w hiskey t a lk in’ . Obv io us c o m p a r is o ns a s id e , g uit a r is t / v o c a lis t B e c k y B la c k a nd d r um me r Maya Miller definitely ha v e a ll fo ur f e e t in t he blue s w hile d e li v e r ing a c a nno n bla s t o f g r ung y g a r a ge r o c k to t he gut. In thr ee sho r t ye a r s, T he Pa c k A. D. ha v e t o ur e d a ll ov e r t he w o r ld a nd a r e c ur r e nt ly in o ur ne c k of the woods supp o r t ing t he ir s e c o nd f ull- le ng t h, Funer al Mixta pe . I c a ug ht up w it h M ay a a s they we r e leav ing A ustin, Texa s a nd o n t he r o a d t o C a jun c o unt r y.

le nt it s e lf t o m a k ing a b a nd . I ’ m sur e you can hear t he inf lue nc e .

MR : Ar e yo u a ll o r ig ina lly f r o m Canada?

MM: Yo u b e t c ha . We ’ r e b o t h f r om Vancouver. M y p a r e nt s a r e f r o m I llino is but I w as bor n in Can ada.

M ike Rutz: How w as SXSW 2 0 0 9 c o m p a r e d t o yo ur p e r fo r m a nc e s t he r e la s t ye a r ?

M aya Mil l er: Last year it w a s a d r unk e n blur t ha t w a s s uc c e s s f u l. T h is ye a r it w a s a d r unk e n blur tha t w a s suc c essful.

M R: Br ief ly r ec ount for our lis t e ne r s t he le ge nd o f T he Pa c k Af t e r D e a t h?

M M : It’s so weir d, those m o m e nt s in l if e w he n yo u f ind yo ur s e lf in t he C o ngo o n a but t e r f ly ex hi b it io n a nd you’ r e thinking, I c an’ t b e t he o nly o ne . And s ur e e no ug h, I w a s n’ t ! O b s e r v ing but t e r f lie s na t ur a lly 28

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MR : D o e s t he m us i c s c e ne d if fer muc h fr om the St a t e s ’ ?

MM: H m m , w e ll t he r e ’ s f a r le s s bands in Canada p lay ing t he ge nr e o f m us ic w e ’ r e playing. Lot s of ind ie - p o p go ing o n t he r e r ig ht now. Als o, Canada is jus t s m a ll in t e r m s o f p o p ulation, so it’s easier t o r e a c h a n a ud ie nc e .

M R: T he last time we saw yo u a t Po e ’ s P ub, didn’ t you have a br oke n d r um he a d ? T h a t show w as still killer. How ’ d yo u w o r k a r o und tha t o ne?

M M : Why yes, w hile playing, my d r um s t ic k w e nt c lean thr ough my snar e dr um . Su c h is t he p o w e r of my snar e stic k ar m, or t he w e a k ne s s o f my tuning…de pends on how yo u lo o k a t it . I w a s n’ t a ble to wor k ar ound that o ne b e c a us e no o ne would let the show stop, s o I p laye d t he s na r e a nd a imed at the sides as o p p o s e d t o t he m id d le .

Now that w as fun.

M R: I guess it’s good tha t yo u p lay in a g a r a ge r oc k band, but as har d as yo u p l ay, m ay b e a m e t a l ba nd is the nex t ste p for yo u?

MM: H a ha , I ’ d lov e t o p lay m e t a l. S a d ly, I c a nno t p o s s ibly dr um f as t enough.

So, if w e s w it c he d t o m e t a l, I ’ d ha v e t o le a r n a d if f e r e nt instr ument. But I w o uld g la d ly d o t ha t fo r t he s a k e o f a ll t hin g s m e t a l. P r e f er a bly doom-met al.

Ac t ua lly, s o m e w ha t r e la t e d , w e d o ha v e a n a lt b a nd in t he w or k s. I t ’ ll s t ill be t he t w o o f us, but w e ’ r e p la nning o n go ing e le c t r o nic . We ’ r e t hink ing of a We a r e Wo lv e s (C a na d a ) m e e t s A p hex Tw in k ind o f v ib e !

MR : Sinc e 2 0 0 6 , yo u’ v e t o ur e d t he e a r t h, inc lud ing m ultiple tr eks thr ough t he U. S. I s t he r e s o m e t hing in t he Pa c k ’ s m us ic t ha t jus t c onnects with people f r o m a ll b a c k g r o und s ?

MM: Alc o ho l. Al c o ho l is t he uni v e r s a l, no la ng ua ge b a r rier connector that c o nn e c t s e v e r yo ne t o o ur m us ic . And w he n w e p lay, w e p lay with our hear ts a nd ha v e f un. Anyo ne c a n c o nne c t t o t ha t . And t he a lc o hol does n’ t hur t ei t he r.

MR : Ar e t he r e a ny p la c e s t ha t s t a nd o ut a s f a r a s a ud ie nce r eact ion or part ic ip a t io n?

MM: A ud ie nc e s in B o go t a , C o lo m b ia w e nt a b s o lut e ly b o nk er s. Hmm, also the So ut h. T he So ut h k no w s ho w t o ha v e a go o d t im e .

MR : Re a lly, ho w ha v e yo u b e e n a ble t o t o ur s o m uc h? D o you have lucr ati ve d ay jo b s in Va nc o uv e r ?

MM: O h, w e q uit o ur jo b s la s t ye a r. W h a t w e ’ r e d o in g is not lucr ati ve at all, but a s lo ng a s w e k e e p p lay ing s ho w s t he n w e ge t f e d .

MR : I g ue s s it he lp s b e ing o nly a t w o - p ie c e . D o e s a nyo ne else join you on t o ur ?

M M : Occasionally, for the lo nge r t o ur s, w e ’ ll b r ing a r o a d ie t o he lp lug ge a r and sell mer c h. It’s definit e ly ha r d t o f ind a nyo ne w ho c a n le a v e t h e ir li v e s fo r a month at a tim e and w o r k fo r p e a nut s … a nd w he n I s ay p e a nut s, I lit e ra lly me a n peanuts.

We t hink yo u ha v e t o s e e us p lay a nd t he n go f r o m t he r e .

M R: What did you find att r a c t i v e a b o ut M i nt Re c o r d s a s o p p o s e d t o o t he r la b e ls o r DIY?

MM: G o o d c a ll. I t ’ s no t int e nd e d t o b e m o r b id . B a s ic a lly, we wer e talking a w hile b a c k a b o ut ho w w he n w e d ie w e w a nt e d p e o p le to have a par ty as o p p o s e d t o a f une r a l. T he n, w e t ho ug ht it w o uld b e a go o d idea t o mak e mix t a p e s o f w ha t w e ’ d w a nt p laye d a t o ur p a r t ie s. H e nc e , Funer al Mixta pe .

M M : Well, they kind’ ve com b ine d t he t w o. We ’ r e s t ill v e r y m uc h D I Y a nd t he n have the help of Mint Recor d s. T hey ’ r e go o d p e o p le a nd go o d lis t e ne r s. Als o, they smell nic e.

MR : Funer al Mixta pe is a r e a lly int e r e s t ing t it le fo r t he r e c or d. It doesn’ t f eel m o r b id t o m e t ho u g h. C a n yo u t e ll m e a b o ut it ?

MR : Yo u a ls o ha v e a ne w r e c o r d in t he w o r k s ? Any c ha nges f r om pas t mat er i a l?

M R: If you c ould tour with a ny c ur r e nt b a nd , w ho w o uld it b e a nd w hy ?

M M : Does Engle ber t Hump e r d ink s t ill t o ur ? D id he e v e r t o ur ? I s L a nc e B a s s on the r oad? What a bout Ce line D io n? We c o uld d o Ve g a s.

MM: Ye p, w e r e c o r d e d s o m e ov e r o ur w int e r b r e a k a nd w ill r ecor d some mor e t h is f a ll. O ur m us ic is d e f init e ly m ov ing t o w a r d s m o r e r o c k , e ven r oc k -pop in a w ay. B ut , yo u k no w, in o ur s t y le s o it ’ s s t ill a ll r o ug h a nd g ar a ge-y.

In the r eal wor ld: Detr oit Co b r a s, Go r e Go r e Gir ls, K ing K ha n a nd t he Shr ine s, er r, T he Tr a gic ally H ip - b e c a us e t hey a ll t e a r s hit up.

MR : Yo ur ly r ic s a nd m e r c ha nd is e o f t e n r e f e r e nc e t he C i v il War er a. You must lov e p lay ing in R ic hm o nd ! W he r e d o e s t ha t f a s c ina t io n c o me f r om?

M R: Your li ve sets ar e explo s i v e a nd yo ur r e c o r d s d o a g r e a t jo b o f c a p t ur ing that r aw sound. For the lat e s t r e c o r d yo u r e c o r d e d it li v e t o a na lo g t a p e a t the Hi ve Studios. Do you think r o c k m us ic is ov e r p r o d uc e d o r is t he no - f r ills a p pr o a c h just w hat wor ks be s t fo r T he Pa c k A. D. ?

MM: Ac t ua lly it ’ s f unny, o r no t d e p e nd i ng o n w ha t yo u t hink is funny. Lear ning a b o ut t he C i v il Wa r b e c a m e a lit t le o b s e s s io n fo r us fo r a w hile. It basically ha p p e ne d by w a t c hing R avenous – w hic h i s n’ t s e t d ur ing t he Ci vil War I know – a nd Cold Mountain . T he n I d id a lit t le b a c k g r o und c he c k ing, and I have r elat i v e s t ha t fo ug ht in t he C i v il Wa r, b e ing a s t ho ug h I ’ v e got dual citizenship.

And ye s, R ic hm o nd is jus t a b o ut o ur f a v o r it e p la c e t o p lay. We’ ve met some o f t he nic e s t p e o p le e v e r t he r e a nd a p p a r e nt ly w e ’ r e ge t t ing a cemeter y tour t his t im e a r o un d . P lus p a nc a k e s.

M M : I think it’s kind of a s t r a nge b a la nc e b e t w e e n t he t w o. Ye s, in s o m e cases, w hen an album is so p r o d uc e d it jus t s o und s lik e p la s t ic ; I t hink it k il ls the inspir ation w hen it’s so p e r f e c t . B ut t he n I t hink t ha t B r it ney Sp e a r s ’ hit s like “Toxic” ar e mini slices o f p e r f e c t io n in t e r m s o f w ha t ov e r p r o d uc t io n c a n d o. I me an, c ’m on, killer pr od uc t io n o n t ha t s o ng. And it m a k e s me d a nc e ! O ur basic go al w hen we r ecor d is t o s o und a s c lo s e a s w e c a n ge t t o s o und ing ho w we sound li v e. Som e bands s o und g r e a t o n a lbum but p ut o n a b o r ing s ho w.

T he Pac k A.D. will stop thr ough Ric hmond on May 1st at the Triple, along with opener s Duc hess of Yor k, T he In and Outs, and Baltimor e’s T he Flying Eyes.

For mor e infor mation, visit the pac kafter death.com.

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Liz a K ate Got H er Groove Back Ta lia M iller

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It a ctua lly goes silent for a f e w m o m e nt s w he n s he b e g ins t o p lay. Pe o p le t ur n to pay attention to Liza K a t e , he r ge nt le v o ic e a nd g uit a r w inning o ut ov e r the c link ing of bottles and b a r r o o m c o nv e r s a t io n. T he w ho le p la c e is c a p t i v ated, a nd it is lovely to s e e , e s p e c ia lly c o ns id e r ing t ha t t his is o ne o f he r fir st shows in m any m onths. Luc k ily, Liz a K a t e is b a c k in a c t io n, w it h a ne w full-length coming out on the N o r t h C a r o lina b a s e d r e c o r d la b e l H o lid ay s fo r Quince, and plans for touring. O v e r c o f f e e w e d is c u s s e d t he up c o m ing a lbum , he r cr e a ti v e philosophy and w hy s he ne e d e d a b it o f a b r e a k t his p a s t ye a r.

Talia Miller : Do you ha v e a go o d s t o r y b e hind yo ur f ir s t g uit a r ?

Liz a K ate: Yeah, actua lly, I w a s w it h my m o m a t t h e f le a m a r k e t . I w a s getting a hair cut and she w a s ge t t in g he r ha ir p e r m e d a nd he r na ils d o n e , and ther e w as an old count r y s inge r g uy in t he b o o t h a c r o s s t he w ay f r o m he r hair salon place at this indo o r f le a m a r k e t … it ’ s r e a lly c o m m o n in Flo r id a fo r tha t to ha ppen. And he had a g uit a r fo r lik e $5 0 a nd t a ug ht m e t he r hy t hm t o “Br own Eyed Gir l” and told m e w ha t t ho s e t hr e e c ho r d s w e r e , and I w a s r e ally excited. My mom some ho w m a d e a d e a l w it h him , b e c a us e s he w a s t he r e e ver y week getting her ha ir a n d na i ls d o ne , a nd s o s he m a d e p ay m e nt s t o this g uy for the guitar. I don’ t r e m e m b e r his na m e , but t ha t w a s in N e w Po r t Ric hey, FL. I think I w as tw e lv e .

T M : I know that you played in b a nd s b e fo r e yo u p laye d s o lo. D id go ing f r o m playing with other people ons t a ge t o p lay ing a lo ne m a k e yo u ne r v o us ?

LK: When I fir st star ted, o f c o ur s e , it w a s c r a z y. I n f a c t , t he f ir s t t im e I e v e r playe d by my self, my friend Tr a v is a nd I w e r e p lay ing t his a c o us t ic s ho w a t a bar that w as r eally loud and o b nox io us. I ha d a lr e a dy w r it t e n s o m e s o ng s o n my own. T he fir st one I playe d in f r o nt o f p e o p le , I d id n’ t ha v e g uit a r t o, jus t the sing ing par t, and it w a s r e a lly lo ud in t his b a r t ha t nig ht a nd e v e r yo n e w a s b e ing annoy ing. So I m a d e him s t o p p lay ing g uit a r, a nd I s t o o d up a nd star ted singing the song, jus t b e c a us e I w a n t e d e v e r y b o dy t o s hut up, a n d

it w a s lik e , I ’ m go ing t o d o t his no w o r I ’ m ne v e r e v e r go ing to do it. And I d id it , a nd it t o t a lly c ha nge d e v e r y t hing. I ne v e r p laye d a show with him a g a in, I d o n’ t t hink . I t w a s a lw ay s jus t m e f r o m t he n o n, and I ne ver did w r it e g ui t a r fo r t ha t s o ng ; I jus t s a ng it fo r a lo ng t im e a nd t hen I k ind of r e t i r e d it . I ’ v e b e e n ne r v o us e v e r s inc e .

T M : Wa s t ha t t he m o m e nt t ha t p us he d yo u t o p lay by yo ur s elf ?

L K : T ha t ’ s w he n I d e c id e d I w a s go ng t o d o it . I ha d a lr e ady decided I w as go ing t o p lay a s ho w by my s e lf a t s o m e p o in t . Af t e r t ha t , I w ent out of t ow n fo r t w o m o nt hs, a nd w he n I c a m e b a c k I s t a r t e d p l ay i ng s hows by myself. It w a s r o ug h a t f ir s t . I m e a n I go t t o p lay a ll t he t im e , but it w as r eally har d t o f ig ur e o ut ho w t o ge t e v e r y t hing f r o m my m ind t o my limit ed guit ar playing a nd t he n p r o je c t it in f r o nt o f p e o p l e a nd s ing by my self. For a w hile I w o uld ha v e my f r ie nd s s it nex t t o m e b e c a us e it w a s r e a lly dif ficult. But t ha t s ho w w a s g r e a t , t o o. M y r o o m m a t e s w e r e c r y ing, a nd it w as so quiet in t his r e a lly lo ud b a r, yo u c o uld he a r a p in d r o p w he n I did it. I’ d ne ver f e lt s o p r o ud o f my s e l f, a nd I w a s r e a lly ex c it e d t ha t e v e r ybody s hut up. I t w a s r e a lly f la t t e r ing t ha t my f r ie nd s w e r e c r y ing, a ll t ho s e t hings ; maybe it w a s s uc h a g ia nt b o o s t t o my e go t h a t I f e lt l ik e , o k ay, I can play in fr ont o f p e o p l e a nd it ’ s no t go ing t o b e s o ho r r ible . W ha t w a s I like 20 or 21?

I t w a s a r e a lly w e ir d , t o t a lly lif e c ha ng ing ex p e r ie nc e .

T M : T he ne w a lbum , l e t ’ s t a lk a b o ut t ha t . Te ll m e a b out it, w her e did yo u r e c o r d it ?

L K : I r e c o r d e d it w it h L a nc e a t M inim um Wa ge Re c o r d ing in Or e gon Hill.

T M : H o w lo ng w e r e yo u w r it ing fo r it ?

L K : O h go d , s o m e s o ng s o n t he r e … o ne s o ng I w r o t e the day befor e I s t a r t e d w it h C ur t is Pa t t o n. T he r e a r e a c o up l e s o ng s t hat ar e year s old MUS IC

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and som e that wer e written p r e t t y r e c e nt ly. T he r e ’ s a ls o o ne c ov e r a nd o n e my fr ie nd Gr ant Hunnic utt wr ot e fo r m e t o p lay. T he r e is a lo t o f ins t r um e nt a t io n on it and people playing wit h m e w ho go t t o w r it e t he ir o w n p a r t s t o go a l o ng.

I’m not a ver y talented m us ic ia n. I d o n’ t k no w w ha t t hing s a r e c a lle d , s o I d idn’ t tell any body w hat to p lay ; I jus t le t t he m d o w ha t t hey w a nt e d .

T M : I k now you do photo g r a p hy, t o o. Te ll m e a lit t le b it a b o ut it . D o yo u s e t up sho ots or bring your c ame r a e v e r y w he r e w it h yo u?

LK: All of last summer I s ha r e d a s t ud i o w it h s o m e b o dy, s o I r e a lly go t i nt o setting up scenes and taking p ic t ur e s o f t h o s e . I d o a lo t o f d ig it a l, but I d o film, too. I hav e ac c ess to o ne o f t he o ld e s t d a r k r o o m s in R ic hmo nd . I t ’ s jus t me a nd one other photo gr a p he r in t he r e , a nd it ’ s s o le ly b e c a us e o f k no w ing the r ight people; and bec aus e fo r a ye a r a nd a ha lf I w o r k e d fo r t his p ho t o g r a pher for fr ee, just as an as s is t a nt . I ’ m s t ill le a r ning a lo t a b o ut p ho t o g r a p hy.

I d id it in high sc hool like m o s t p e o p le , a nd it k ind o f f e ll a w ay f r o m m e . And the n I b ought a digital c ame r a a c o up le o f ye a r s a go a nd go t b ac k int o it a nd slowly bac k into mor e film a nd d if f e r e nt t y p e s o f o ld f ilm c a m e r a s.

T M : I thought it w as ne a t t o lo o k t hr o ug h yo ur Fli c k r, b e c a us e s o m a ny people will post e ver y phot o t hey t a k e , bu t in yo ur s e v e r y p ho t o w a s s p e c i a lly se le cte d.

LK: In the be ginning, I w a s p o s t ing e v e r y s ing le p ic t ur e t ha t I t ho ug ht w a s ne a t, but after a w hile I w a s s o r t o f g r a p p ling w it h w hy I w a s p ut t in g a ny t hing online a nyw ay. T he w hole p o int o f a ny t hing I d o is a lw ay s a my s t e r y t o m e .

W he n it c om es to posting p ic t ur e s, I w a nt it t o b e t he b e s t o ne , t he o ne t ha t b e st r e f lec ts the situation, t he o ne I w a nt s t r a nge r s t o lo o k a t .

T M : It m akes a lot of sens e , I ’ m a lw ay s ov e r w he lm e d by t he a m o unt o f info r ma tion people put online.

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L K : Ye a h, t he r e ’ s a lo t . And a t f ir s t I d id t he s a m e t hing, and I t hink I got r e a lly … it ’ s lik e w hy I p lay s ho w s. I f p e o p le d id n’ t c o me I wouldn’ t do it a ny m o r e . I ’ m no t a d ie ha r d go t t a p lay li v e m us ic k i nd o f per son. If I could s t r ic t ly r e c o r d a nd ge t by o n t ha t I w o uld jus t d o t ha t . I lik e playing s how s, but w it h s o ng w r it ing I t r y t o k e e p my s o ng s s ho r t a nd s w e et, because ther e’s s o m uc h t ha t d o e s n’ t ne e d t o b e s a id . I f e e l lik e I ’ m ov e r st aying my w elcome a ll t he t im e . W h e n I ’ m s ing ing o r t a k ing p ic t ur e s o r a ny t hing lik e t hat , I t r y t o k e e p it t o b e p r e t t y m inim a l if I c a n. And t ha t ’ s ne w ; that’s adult Liza, s inc e my t w e nt ie s.

T M : I t ’ s in t e r e s t ing t o t a lk t o yo u, b e c a us e it s e e m s s o muc h that you ar e c r e a t ing fo r yo u a n d no t fo r o t he r p e o p le . I t ’ s a n int e r esting philosophy, a nd I t hink t ha t a lo t o f p e o p le w ho p e r fo r m d o n’ t ne c e s sarily have t hat .

L K : I g ue s s. I d o n’ t r e a lly k n o w t he r e a s o ns w hy a lo t o f people play music.

I go t o s ho w s s t ill a nd a p p r e c ia t e s e e ing p e o p le p lay ; i t ’ s a dif f er ent at mos p he r e t ha n jus t lis t e ning t o a r e c o r d ing, a nd I ge t t ha t . I’m gr ateful that p e o p le a r e int e r e s t e d in t ha t , b e c a us e w it h my f r ie nd s now investing in this a l bum , it ’ s r e a lly im p o r t a nt t o m e t ha t t hey a t le a s t ge t bac k w hat they put in, a nd t h a t no o n e is go ing b r o k e he r e , a n d e v e r yo ne is getting to do w hat t hey w a n t , a nd a ll t ho s e t hing s c o s t m o ney. So I ’ m g la d t hat people w ill s t ill go t o s ho w s, a nd m ay b e p e o p le w ill buy t hi s r e c o r d a nd help my friends to p ut o ut o t he r b a nd s. To k e e p it in t his s m a ll c o m m unit y of f riends is r eally ex c it ing t o m e . Yo u c a n’ t ex is t w i t ho ut a n e c o no my, a nd if you have to have a t iny e c o no my w it h yo ur f r ie nd s a nd a ll t he t hing s t hey a r e doing, it ’ s r eally im p o r t a nt t o s up p o r t t ha t a nd p r o m o t e it . I g ue s s I ’ m no t playing shows for m e , I ’ m d o ing it fo r my f r ie nd s w ho a r e inv e s t ing in m e and w ho have been fo r s o lo ng, a n d fo r p e o p le w ho ha v e b e e n s up p o r t i v e o f me. I ’ ve made s o m a ny f r ie nd s. I d o n’ t k no w w h e r e I w o uld b e , w ha t k ind of a per son I would b e if I w a s n’ t inv o lv e d in a ll o f t his. Jus t a b o ut e v e r y b o dy I k now is becaus e o f it . Alm o s t a ll o f my f r ie nd s ha p p e ne d b e c a us e I fo r s o me r eas on decided t o d o t his. I f e e l v e r y fo r t una t e .

T M : G o ing b a c k t o t he ne w a lbum , w h a t is yo ur f a v o r ite song? I know t ha t ’ s s o unf a ir t o a s k !

L K : T he r e ’ s t his o ne s o ng I w r o t e fo r my m o m , it ’ s r eally simple. I ne v e r r e a lly na m e my s o ng s – it ’ s jus t a p ie c e o f t he lyrics – but the f ir s t line is “ s he is a m a c hin e ” , a nd t ha t ’ s p r o b a bly w ha t it’s going to be c a lle d . Jo s h Sm a ll s ing s o n it w it h m e , a n d t he r e ’ s s o m e r eally awesome p lay in g o n it ; a nd I t hink r e c o r d e d , I ’ m m o s t p r o ud o f that one. As f ar a s s o n g s go, t he r e ’ s o ne k ind o f ne w e r s o ng t ha t I g uess I’ ll pr oba bly c a ll “ N o G o o d ” o r s o m e t hing. I r e a lly lik e t ha t s o n g. I wr ote that over t he s um m e r r ig ht b e fo r e w e r e c o r d e d , a nd t ha t w a s k ind of a landmar k s o ng ; t hing s in my lif e w e r e c ha ng ing a g a in. B e c a us e last year w as kind o f t he w o r s t o f my w ho le lif e , fo r t o ns o f r e a s o ns. To w ar d t he end of t he ye a r I k ne w t ha t e v e r y t hing h a d t o b e d if f e r e n t . T hat song to me s ig nif ie s a t im e w he n I w a s lik e , e v e r y t hing ha s t o c ha nge; I have to do it no w. And it ha s – s lo w ly – but it ha s. T he la s t t hr e e months have been r e a lly a m a z ing fo r m e .

T M : D o yo u t hi nk t he a lbum m a r k s t ha t p r o g r e s s io n?

L K : Ye a h, t his m a r k s t he f ir s t t im e t ha t I ’ m m a k ing m o r e of an ef for t to d o t his. I ’ m no t s ur e w he r e it w ill e v e r go, but I f e e l a little less c ynical a b o ut w hy a nyo ne w o uld d o it a t a ll. I ’ m jus t go i ng t o kind of let it go a n d s e e w ha t ha p p e ns w it h it . I ’ m a lr e a dy r e a dy t o r e c or d a g ain. I have fo ur ne w s o ng s I w a nt t o r e c o r d r e a l ly b a d ly, a n d I ’ m c o nstantly wor king o n t hing s no w. Fo r a lo ng t i m e I w a s n’ t w o r k ing o n a nything, but now I ’ m w r it ing s o m a ny s o ng s, it f e e ls r e a lly go o d . I go t my spirit bac k, my g r o ov e b a c k , ho w e v e r yo u w a nt t o s ay it .

Liza K ate’s de but full length, Do n’ t Let the Do g s, will be of ficially r eleased on May 19th on Holidays for Quince Recor ds. Pic k it up at her CD r elease show at Galler y 5 on May 22nd with Jonathan Vassar and the Spec kled Bir d, and Mount Moriah.

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SXSW: Winner and Still Champion M e g a n Pe t t y | Pho t o s by La ur a O’ ne il

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Austin, Texas.

For o ne week e v er y Mar c h, t he s t a t e c a p it o l o f Texa s t ur ns into a verita ble mecca for uns ig ne d b a n d s. T hey c o m e f r o m e ver y co r ner of the ear th and d e s c e nd up o n t he c it y in d r ov e s, hoping to leave A ustin as the n e w “ I t ” b a nd . T his w e e k s e r v e s as a c hance to knoc k the ind us t r y ’ s s o c k s o f f, t o b e c o m e the latest dar lings of the f e s t i v a l, t o b e t ha t b a nd e v e r yo n e r emember s and gloats a bo ut h a v ing s e e n b a c k b e fo r e t hey we r e huge. T hey c om e e v e r y ye a r, lik e m o t hs t o a f la m e , t o South by Southwest. Mor e t ha n a ny o t he r f e s t i v a l a c r o s s t hi s g r e a t la nd, it’s the one e v e r yo ne w a nt s t o p lay. And t his ye a r, I w a nte d to go, too.

T he we e ks leading up to SXSW p r ov e d ne a r ly a s ov e r w he lm ing a s the festi v al itself. Onc e t he go o d p e o p le in f e s t i v a l o r g a ni zation be g an to r elease the na m e s o f s ho w c a s ing b a nd s, my p a r tne r in c rim e, Laur a O’N e ill, a nd I s t a r t e d s p e nd ing c o unt less hour s printing lists a nd f a s t id io us ly r e s e a r c hing b a nd s until our eyes cr ossed and o ur b r a ins s c r e a m e d . Tr y ing t o shoehor n all of the bands w e w a nt e d t o s e e i nt o t ha t o n e week seemed like (and, in f a c t , w a s ) m o r e o f a n im p o s s ib il it y e ve r y d ay.

F i na lly, St . Pa t r ic k ’ s D ay a r r i v e d , a nd w it h it my 7 a . m . f lig h t f r o m R ic hm o nd t o D a lla s. Af t e r p ulling a n a l l- nig ht e r p a c k in g (w hic h, f r i e nd s, I d o no t a d v is e ), I w a s a ir b o r ne , w ing ing my w ay t o D F W t o w a it o n my s ho r t f lig ht t o AU S. O nc e in A us t in, I ha d ho ur s t o k ill w a it i ng fo r L a ur a ’ s f lig ht , s o I e ng a ge d in a lit t le go o d o ld f a s hio ne d p e o p le w a t c hing. H o r d e s o f b a nd s c a m e a n d w e nt , p ic k ing up t he ir b a g s a nd ge a r. W hile in b a g g a ge c la im , I c a m e up w it h a lit t le s o m e t hing I lik e t o c a ll “ H o w m a ny t im e s w ill I s e e B a ng ! B a ng ! Ec he ! t his w e e k ?” a f t e r r e c o g niz ing t he m a s t hey c o lle c t e d t he ir t hing s (I w o uld e nd up s e e ing t he m no le s s t ha n f i v e t im e s ov e r t he c o ur s e o f t he f e s t i v a l) . Se v e r a l ho ur s la t e r, L a ur a a nd I go t a t a x i t o o ur ho t e l in t he hint e r la n d , a n d f r o m t he r e p lo t t e d t he c o ur s e o f o ur ni g ht . Ev e nt ua lly, w e e nd e d up a t TC ’ s L o unge – q uit e p o s s ibly t he d a m ne d f ine s t d i v e I ’ v e e v e r b e e n t o – t o s e e o ur ne w a m igo s f r o m N YC , Yo ur 3 3 B la c k Ange l s. M uc h b e e r w a s s w ille d a s w e s a t b a c k a nd w a t c he d C a r t r ig ht (o ne o f my f a v o r it e f i nd s o f t he e nt ir e w e e k ), Yo ur 3 3 B la c k Ange ls, Slic k , a nd T K We b b & t he Vis io ns unle a s h v a r y ing d e g r e e s o f r o c k . We c o m m a nd e e r e d a p o o l t a ble , w he r e w e w e r e jo ine d by L o u a nd Jo e C a r t r ig ht . N o w, I c o uld t e ll yo u t ha t w e b e a t t he m ha nd ily, but I ’ d b e a d a m ne d lia r. We a ls o p laye d t e a m s, a nd I c a n’ t r e m e m b e r if Jo e a nd I b e a t L o u a nd L a ur a , but i t w a s a ho o t e it he r w ay. F ina lly, o ur n e w B F F t a x i d r i v e r MUS IC

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c a m e t o c o lle c t us, a nd ho t d a m n if t ho s e unc o m fo r t a ble , s t if f a s - b o a r d b e d s d id n’ t f e e l lik e c lo ud s.

Af t e r s t a r t ing o ur SXSW exp e r ie nc e o f f w it h s uc h a g r e a t nig ht , I w a s a ll s o r t s o f exc it e d t o s e e w ha t w a s nex t . I w a s p o s it i v e t ha t no m a t t e r w ha t , i t w a s b o und t o b e ex c e e d ing ly a w e s o m e .

I a m , o n r a r e o c c a s io ns, w r o ng. I m a na ge d t o ge t my s e lf s ic k , s o my s e c o nd a nd t hir d d ay s o f SXSW w e r e n’ t n e a r ly a s r a d a s t hey s ho uld ha v e b e e n. Fo r ex a m p le , a f t e r c a t c hing s o m e o f F ut ur e o f t he Le f t ’ s lo ud , a ng ula r t h r a s hi ng a nd s o m e o f Jul ie t t e M o r ne a u’ s h a unt ing ly love ly s o ng s, ins t e a d o f s t ay in g w it h La ur a t o s e e Ye lle (w ho, a c c or d ing t o L a ur a , w a s s p e c t a c u la r ), I ha d t o a p p e a l t o my f r ie nd Jo e l’ s p it y a nd c r a s h in his s w a nk y d o w nt o w n h o t e l r o o m (a nd s up e r c o m f y b e d w it h f luf f y p illo w s ) w hile I bur ne d a nd c hilled w it h f e v e r. Af t e r r e c o nv e n ing fo r d inne r, w e he a d e d t o St ub b ’ s t o s e e t he m uc h- buz z e d J a ne lle M o na e . H e a v ily O ut k a s t ia n in he r s o und , M s. M o na e ha s o ne o f t he b ig ge s t , b o ld e s t v o ic es I ’ v e he a r d in q uit e a w hile , no t t o m e nt io n t he m o s t d a p p e r s o und b o a r d o p e r a t o r I ’ v e e v e r s e e n (m e n in t ux e s ? Ye s, p le a s e . ). N ex t up w a s L a dy ha w k e , b a s hf ul unt il s he go t b e hind t he m ic . 2 0 0 8 w a s a ll a b o ut t hi s la s s f r o m N e w Ze a la nd , a nd I ’ ll t e ll yo u s o m e t hing, s he p ut s o n q uit e a s ho w. B ut fo r m e , t he m a in e v e n t o f d ay t w o w a s t he f ina l e : t he B la c k Ange ls a nd Ro k y Er ic k s o n, c lo s ing t he A us t in 38

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M us ic A w a r d s a t t he A us t in M us ic H a ll. I w as star-str uc k upon s py i n g B o b by G i l l e s p i e a n d M a n i o f P r i m a l S c r e a m s a u n t e ri n g a r o u n d t h e p l a c e , bu t i t s p o k e v o l u m e s t o s e e m u s i c i a n s o f t h e i r c a l i b e r t h e r e . A n h o u r l a t e r t h a n ex p e c t e d , t h e m o m e n t f i n a l ly c a m e . I ’ m f a i r ly c e r t a i n t h a t t h e h a n d f u l o f s o n g s p e r fo r m e d w e r e t h e l o u d e s t s o n g s I h a v e e v e r h e a r d l i v e i n my l i f e . T h e b a s s w e n t r i g h t t h r o u g h m e a n d s h o o k e v e r y b o n e i n my b o dy. A n d I l ov e d e v e r y s e c o n d . T h e B l a c k A n ge l s o n c e a g a i n g a v e m e c h i l l s, a n d s e e i n g Ro k y E r i c k s o n w a s a n a b s o l u t e h o n o r.

D ay t h r e e w a s m o s t ly a w a s h . I f e l t l i k e r o a d k i l l r u n ov e r a d o z e n t i m e s by a n e i g h t e e n - w h e e l e r, a n d i t w a s d a r k l o n g b e fo r e I d e c i d e d I c o u l d ge t o u t o f b e d . I m e t u p w i t h L a u r a a n d C a l i fo r n i a n f r i e n d s t h e Wa r Ta p e s a t C l u b 1 8 0 8 ( q u o t h my t a x i d r i v e r ; “ D o yo u k n o w p e o p l e h e r e ? T h i s i s n’ t t h e best area…”), and rejoiced in A) finding a bar in Austin that ser ved PBR, and B) the massive outdoor par ty where w e ex p e r i e n c e d t h e s h o e g a z e r y p e r fo r m e d by S e a s p i n . T h e n , like a flash, Laura and I were off downtown, to see one of my f a v o r i t e l i v e b a n d s, D e a d C o n f e d e r a t e . T h e b oy s w e r e a t S p i r o ’ s, a n d o n c e a g a i n t h ey t o o k n o p r i s o n e r s. T h e i r h e a v y, s m o k y G e o r g i a r o c k s e t t h e p a c k e d h o u s e o n f i r e . T h ey w e r e r i d i c u l o u s ly go o d , a n d a f i n e w ay t o c l o s e t h e b o o k o n a n o t h e r w i s e fo r ge t t a bl e d ay.

Fr i d ay w a s t h e B i g D ay. 1 2 d i f f e r e n t s e t s by 1 1 b a n d s. I t w a s b e a u t i f u l i n s a n i t y. F i r s t w a s t h e Spin p a r t y a t S t u b b ’ s.

We s a w t h e B l a c k L i p s, a b a n d I h a d b e e n dy i n g t o s e e l i v e fo r ye a r s, a n d w h o d i d n o t h i n g l e s s t h a n k i c k a s s. N ex t u p w a s G l a s v e g a s, a n d w h i l e p a r t i a l t o a ny t h i n g S c o t t i s h , I

e n j oye d G l a s v e g a s b e c a u s e t h ey ’ r e u n d e n i a bly go o d . Pe r r y Fa r r e l l e m e r ge d f r o m t h e b a c k s t a ge t o i n t r o d u c e t h e f a n t a s t i c E c h o & the Bunnyme n , t o t he d e lig ht o f t he m a s s e s.

But we skipped out ear ly o n t he ir s e t , s o w e c o uld hit t he Ne w Ze aland par ty at Br ush Sq ua r e Pa r k . I t w a s my f a v o r it e o f ficia l par ty of the week, a nd o ut o f t he fo ur b a nd s t ha t played I left smitten with thr e e o f t he m . C ut O f f Yo ur H a nd s w as fir st, and they wer e dy na m it e . L a dy ha w k e , w ho c lo s e d the par ty, got e ver yone dan c i ng. B ut fo r m e , t he s t a r s o f t he p a r ty wer e…w ait for it…Ba ng ! B a ng ! Ec he ! . Ye s s ir, t he b a nd I ke pt seeing all over A ust i n s i m p ly k ille d it . T hey s ho ut e d a nd shr edded and c ontor te d t he ir w ay int o my lit t le he a r t , and I am her e now to pr ea c h t he go o d w o r d . I r a n ov e r t o the bac k por c h at Ha bana’ s t o s e e o ne o f my f a v o r it e ne w b a nds, the Lov e Langua ge, o ut o f R a le ig h. T hey w e r e blis s ful, a nd I f loated on a c lo ud o f lov e ov e r t o So C o (t ha t ’ s South Congr ess, y’all), w he r e L a ur a a nd I w e r e t o s e e t he War Ta pes play on the r oof o f t he Am e r ic a n A p p a r e l s t o r e . I t w as w ac k y, but it wor ked. And t he n w e w e r e b a c k d o w nt o w n at La Zona Rosa, for a nig ht o f S c o t t is h m us ic . We s a w a n a coustic set by the P r oc laim e r s, fo llo w e d by a no t he r G la s ve g as set. Finally, it w as t im e fo r P r im a l f uc k ing Sc r e a m . I hadn’ t seen them since 200 0 in G la s go w, a nd t his s h o w w a s wor th the w ait. Playing a le ng t hy s e t by SXSW s t a nd a r d s, t he Scr eam aimed to please (“M ov in’ o n U p ” t o “ K ill All H ip p ie s ” to “Miss Lucifer”). My f avo r it e m o m e nt w a s t he p o int in t he set w her e I thought to mys e lf, “ I t w o uld b e p e r f e c t if t hey did ‘Sho ot Speed/Kill Light ’ r ig ht n o w, ” a nd lo a nd b e ho ld , ther e it w as. It w as a br eat ht a k ing s e t . T ha t b a nd is n o t h in g sho r t o f le gendar y.

Sa t ur d ay w a s t he la s t o f f ic ia l d ay o f t he f e s t i v a l, a nd w e t o o k it e a s y. We s t a r t e d o f f a t t he Q Ma g azine p a r t y, w he r e w e s a w t he d e lig ht f ul G r a ha m C ox o n. C ha r m ing, a f f a bl e a nd s e lf - d e p r e c a t ing, C ox o n p laye d a ll s o lo m a t e r ia l, g i v ing us no t a w hif f o f a B lur s o ng. Af t e r s e e ing his f a nt a s t ic s e t , w e e m b a r k e d up o n a lo ng (Tw e nt y blo c k s ? T hir t y ? M o r e ?) w a lk t o s e e P r e t t y & N ic e . T hey w e r e , t ha nk f ully, w o r t h e v e r y s t e p a nd e v e r y b e a d o f s w e a t . C he c k ‘ e m o ut . H e a d hunt e r ’ s w a s o ur nex t p o r t o f c a ll, fo r t he a s t o nis hing ly, a s t o un d ing ly, d e v ilis hly go o d R ingo D e a t hs t a r r (o ne o f t he b e s t na m e s a r o u nd , ha nd s d o w n). T h e s e yo ung ins f r o m A us t in ha v e t he ir Je s us & M a r y C ha in m e e t s M y B lo o dy Va le nt ine t hing d o w n p a t , a nd it ’ s s c a r y ho w go o d t hey a r e . T hey c o u ld a nd s ho uld b e huge . We f inis he d o f f t he nig h t a t St ub b ’ s, fo r fo r m e r b r ig ht e s t yo ung B r it s, R a z o r li g ht a nd t he d i v ine P J H a r v ey.

Sund ay w a s s p e nt d o i ng t o ur is t y t hing s (C a p it o l B uild ing, s ho p p ing in So C o ), a nd t he n it w a s t im e t o f ly ho m e . W ha t a w e e k .

I ’ v e b e e n t o m a ny f e s t i v a ls in my d ay, inc lud ing C o a c h e lla a n d All To m o r r o w ’ s Pa r t i e s. Jus t a b o ut a ll o f t he m ha v e b e e n g r e a t t im e s, but no t hing c o m p a r e s t o SX SW. I t ’ s t he b ig ge s t , b a d d e s t a n d b e s t o f t he bunc h. I ha d m o r e f un t ha n I ’ v e e v e r ha d a t a f e s t i v a l, a nd I c a n’ t w a it fo r nex t ye a r. L o ng li v e SXSW.

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La n d i s W i n e I m ag e by B r a n d o n p ec k

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Fr om the tim e I star ted writ ing a b o ut m us ic a t t he t e nd e r a ge of 1 6 , p a r t o f the a p peal of the pr ofession w a s t he p r o s p e c t t ha t I w o uld b e s e nt a s m a ny fr e e r e cor ds as I c ould stom a c h. T his m e a nt p ile s a nd p ile s o f ne w b a nd s f r o m v a r ious sc enes and c av eats a r o und t he c o unt r y in ge nr e s t ha t w e r e hy p he n a te d b eyond r ec o gnition.

W he n I enter ed my fir st sem e s t e r o f c o lle ge , t he f lo o d g a t e s w e r e o p e ne d by the blessing/cur se of high s p e e d I nt e r ne t , w hic h a llo w e d m e t o d o w nl o a d e ver y painfully obscur e r e c o r d my he a r t d e s ir e d . I s p e nt a n e nt ir e m o nt h d ownlo a ding J andek r ec or ds a nd p r o w ling m e s s a ge b o a r d s w he r e r e c o r d c r it ics discussed ne w r ec or ds by t he A us t r ia n la b e l M e go a nd Rune G r a m m o fo n, with socially distancing gid d ine s s.

T hen e ver ything f lipped. Sud d e nly t he r e w e r e f e w e r “ m a jo r ” r e le a s e s a n d e ver yone be g an scanning t he ho r iz o n a nd t e r a by t e s o f M P 3 s t o o ne - up t he other. Eight year s later, I’m s t a r ing d o w n t he b a r r e l o f hund r e d s o f r e l e a s e s per month and br owsing blo g s d e s p e r a t e t o hy p e t he nex t b ig t hing u nd e r the d e lus ion that ther e is s o m e N ext B ig T hing t o b e ha d . I p ic k up c o p ie s o f Spin, Ma gnet, Rolling Stone a nd o t he r fo r m e r p r int m o no lit hs, a n d f ind t he m b iting a t the heels of we b c o nt e nt , le a v ing t he m s t a nd ing a s a n a lm o s t ir o nic a fte r th ought. When Vam pir e We e k e nd w e r e o n t he c ov e r o f Spin , it w a s m e r e ly a conso lation prize. T hey w e r e a lr e a dy huge , a lr e a dy b o o k e d fo r Satur day Night Li ve and alr eady in t he ho m e s o f m ill io ns. P r int m a g a z ine s d e v o t e d t o music simply don’ t br eak b a nd s a ny m o r e . T hey d o n’ t h a v e t he p o w e r o r t h e r e so ur ces. T heir writer s w a k e up a nd c he c k t he s a m e s it e s e v e r y m o r ning a s e ve r y o t her m usic f an, leav ing t he m in t he p o s it io n o f a t t e m p t ing t o s c o o p the ir o wn audienc e. T his lea d s t o a n unho ly hy p e c yc le t ha t , a t t im e s, c a n b e e ntir e ly baf f ling.

A perfect example of this is t he Sa n D ie go b a nd Wa v v e s, w ho a p p e a r e d in 2008 in the for m of v arious f r e e M P3 s a nd e v e nt ua lly o n t he N e w Yo r k b a s e d micr o-in die Woodsist (w ho, a lo n g w it h F uc k I t Ta p e s, ha v e a n inc r e a s ing ly

int e r e s t ing c a t a lo g ), t ha t ha v e m a na ge d t o t a k e t he hy p e t r ain f r om t he blogo s p he r e t o P it c hfo r k , AB C N e w s, Rolling Stone a nd Spin in a mind-numbing a m o unt o f t im e . I c a n m o r e t ha n a s s ur e yo u t ha t e v e r y PR a genc y in the c o unt r y is s ha k ing t he ir f is t a t t his p he no m e no n. Fo r t ho se w ho ar e unf amil ia r, t he m us ic o f Wa v v e s is, a t it s e s s e nc e , t he k ind o f lo - f i pop that wouldn’ t ha v e s e e m e d o ut o f p la c e o n a c a s s e t t e la b e l f r o m t he ear ly ‘90s or on an o ut s id e r la b e l lik e Silt b r e e z e w it h s uc h b a nd s a s P s yc h e delic Hor seshit and T i m e s N e w Vik ing, w ho a r e a n o t he r b a nd w ho ha v e r i d d e n t he lo-fi gr avy tr ain t o M a t a d o r. T his is a m a r k e t in w hic h Rolling Stone i s e m bar r assingly late to t he p a r t y by f e a t ur ing Wa v v e s a m o nt h t o o la t e . B y t he t im e the band made it t o t he Ea s t C o a s t t o p lay s ho w s in N e w Yo r k , t he p r e s s w a s alr eady gnashing a t t he o p e ning b a nd , N o d z z z , a no t he r lo - f i b a nd w it h e v e n mor e consonants t o f a w n ov e r.

So w he r e d o e s a ll o f t his le a d t o ? Fo r m e , it ’ s ne a r ex h austion. T her e’s so m uc h hy p e c r e s t ing w it h s o m a ny b a nd s t ha t t he r e ’ s r a r e ly any t ime t o pr ope r ly d ige s t t he m us ic t ha t ’ s b e ing fo is t e d . T he r e ’ s lit t le incent i ve for people t o m a r ina t e (t he c r i t ic ’ s t e r m ino lo g y fo r t his is “ s le p t o n” , w hic h s imply al lo w s fo r a no t he r t y p e o f o ne - up m a ns hip ) o n a r e c o r d fo r any period of time, a s t hey ’ r e d e s p e r a t e ly t r y ing t o k e e p f r o m l o o k ing b e h ind . Want to do a piece o n Vi v ia n G i r ls o r To r c he no w ? Yo u’ v e m is s e d t he b o a t . T his mak es being an a v id m u s ic f a n a t e r r if y ing p r o s p e c t . T he o p t io ns a r e a b s olutely sta g gering.

T he r e s ult i t ’ s ha d o n m e is e s s e nt ia lly o ne o f r e t r e a t . I’ ve s pent a lot of t im e r e v is it ing r e c o r d s t ha t w e r e ne g le c t e d ov e r t he p a s t couple of decades o r o b s c ur e s id e - p r o je c t s t ha t ge t lo s t in t he s huf f le o f finding out w hat’s nex t . L a t e ly, t his ha s m e a nt lis t e ning t o Pacer by T he Amps, a band that is e s s e nt ia lly w ha t w a s le f t o f t he B r e e d e r s a f t e r t he ir d r um mer quit and K elley D e a l d e c id e d t o b e c o m e a w a lk ing d r ug c lic hé . T he r e ’ s s omet hing ex t r emely s a t is f y ing t o m e a b o ut lis t e n ing t o a r e c o r d t ha t ’ s b e e n lar gely lost to the m us ic a l und e r g r o und o f t o d ay a nd ex is t s in it s o w n v a c uum. No expectations, no b a c k la s h, no t e nt a t i v e li v e s ho w s w it h ov e r s t a t e d Ne w Yor k Times r e vie w s, a nd t hey c e r t a inly w o n’ t b e m a k ing t he c ov e r o f Spin .

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And now beating the eardrums Eternal Summers Eternal Summers EP Magic Twig Community

The Decemberists The Hazards of Love Capitol

The debut Eternal Summers EP is an example of what I really live for in the business of music editing/criticism, and that is finding a stunning and unpretentious record such as this. The band consists of two members, Nicole and Daniel, who switch off between drum and guitar duties, and who have actively par ticipated in other bands in their Roanoke, VA home.

Whether you love or hate The Decemberists, there is no denying their ambitious nature. After the release of The Crane Wife , they have followed with the fantasy-laced musical The Hazards of Love . Main conspirator Colin Meloy delivers a world filled with rakes, shape-shifting animals, lovers and forest queens

The EP itself is full of fantastic garage pop songs akin to Beach House and Beat Happening, with an ear for quality, brevity and song structures that sound effor tless. The band straddles the line between fun and sincere in a way that most bands simply can’t, as exemplified on “In the Beginning” and “Fall Straight Back”. However, the real star here is Nicole’s voice, which is intensely entrancing and narcotic. This is best highlighted in the closer “Lightswitch”, which is easily one of my favorite songs of the year. - Landis Wine

The music ranges from the whimsical pop tune to some of the heaviest riffs ever seen by this band (somehow all contained in the tune “The Wanting Comes in Waves/Repaid”).

The album presents itself as a rewarding listen for any fan of the band.

Benjy Ferree Come Back to the Five and Dime Store Bobby Dee Bobby Dee Domino It’s been three years since Benjy Ferree released his debut album, Leaving the Nest, and he returns with Come Back to the Five and Dime Store Bobby Dee Bobby Dee . This time around he introduces more soul and jazz. His voice ranges from falsetto to a solid baritone. Each song eases into its own solid structure. The sound is reflection of the stories being told in each song. “Fear” and “When You’re 16” resonate uniquely with each listener, bringing about a nostalgic feeling of loss. Benjy Ferree has escaped the sophomore slump and expanded his abilities while staying true to his soulful roots. - Amanda Pittman

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If there were any complaints, they would be that the album is hard to not take in as a whole. The songs have a difficult time existing individually. They all belong together, and the intention of their creation is very predicated on the flow from one to the next.

Beyond that, the album is an absolute joy. It is by no means their best release, but it is by far a wonderful addition to the canon that is The Decemberists’ discography. - Shannon Cleary

Yeah Yeah Yeahs It's Blitz!

INTERSCOPE When the Yeah Yeah Yeahs first began to receive commercial acclaim, it was for their remarkable third single “Maps” off of Fever to Tell . The album acted as an introduction to the band and perhaps a revival of Riot Grrrl rock in the mainstream. Now six years later we have It’s Blitz!

If Fever to Tell was an exploration of the Riot Grrrl scene, then It’s Blitz! is an exploration of New York dance. Instead of layers of effected guitars, the band has opted for synths and electronic beats. The real hear t of this album lies in the more underplayed instances. With tunes like “Skeletons” and “Runaway”, the music is full of triumphant moments, and Karen O has never sounded better. “Skeletons” star ts with a simple electronic rhythm and the introduction of O’s voice. With her refrain of “Love don’t cry/Skeleton me”, the song depar ts to new levels with subtle drum and guitar par ts that add to the existing glorious layers of this beautiful composition. It’s Blitz! is a delight with promises of exciting material to follow in the future.

- Shannon Cleary Palominos Egos The new album from Palominos, Egos , is the kind of record that I can imagine being played on repeat all night at any rollicking college par ty in the South. The band cer tainly knows their way around their instruments, and they manage to maintain their tight yet driving sound without missing a beat. They wisely chose producer extraordinaire, Al Weatherhead (Sparklehorse, The Comas), who gives the record a pleasing gloss and plenty of space to flex their instrumental muscle.

The record kicks off with the title track and finds the band’s guitarists weaving in and out of the rhythm section’s grooves. Sound-wise the band is firmly rooted in the style of modern classic rock, and they stick to the formula pretty tightly. There are cer tainly hints of Neil Young and Band of Horses, and with the right push I’m sure the band will find an eager fan base that are attuned to their country-inflected yet modern brand of roots rock. - Landis Wine

Ida Maria Fortress Round My Heart Waterfall In the wake of soul clashing with pop we’ve seen the likes of Lily Allen, Adele, Lykke Li and Kate Nash, but none of them have brought the raw belligerence that is Norwegian Ida Maria. Her debut album For tress Round My Hear t was far from the top of the char ts in Europe last year, but her ode to one night stands, “I Like You Better When You’re Naked”, reached number thir teen in the UK. Her latest single, “Oh my God!”, an explosive lyrical version of what could be a panic attack, was featured on Gossip Girl , and her full album finally hits the states in April. It is a compilation of sorrow and spite that lacks any pretension or grace. “Queen of the World” features a clumsy queen without inhibitions; “Stella” is a dialogue between God and a “43-yearold hooker from downtown”.

Ida Maria is the answer to repetitive ballads on the radio. While she still sings about love and youth, she swings from rage to complacence to innocence at a moment’s notice. - Amanda Pittman

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Cheap Eats: Pizza L a ur e n Vinc e lli

T he r e a r e tons of plac es t o ge t a g r e a t p iz z a in Ric hmond; I could ne ver na m e t he m a ll. I ha v e come to c onsider my self s o m e w ha t o f a p iz z a a ficiona do ov er the year s t ho ug h. I’ v e e v e n b e e n insp ir e d to star t a pizza blo g (p iz z a lic io us blo g. blo gspot.com). Pizza is a n inc r e d ible fo o d w it h an amazing histor y. It star t e d in N a p le s, I t a ly a s a f avorite among poor folk s b e c a us e it w a s e a s y to make and toppings could b e c ha nge d o f t e n t o a void boring r e petition. It is a c la s s ic exa m p le o f a ny good c hef ’s fir st r ule o f t hum b ; a f e w r e ally fr esh ingr edients, simp ly p r e p a r e d c a n c r e a t e a wonderful dish. Her e ar e s o m e o f my f a v o r it e places to go that ar e easy o n t he w a lle t a nd f ill in g for your belly.

46 carry-out

Delivery

dine in

by the slice

Bottom's Up 17 0 0 D o c k St. 644-44 0 0

8 1/ 2

4 0 1 St r aw b e r ry S t .

3 5 8-8 5 0 5

Sinc e o p e ning up in 1 9 9 0 , B o t t o m s U p ha s c o n s is t e nt ly s e r v e d up d e lic io us go ur m e t p iz z a . N o w in t he ir 1 9t h ye a r o f s e r v i c e , o w ne r s D ir k G r a h a m a nd C o a lt er Tr up in ha v e m a int a ine d t he ir r e s t a u r a nt (e v e n a f t e r t he d is a s t r o us f lo o d ing o f H urr ic a ne Ga s t o n) a s a n a w a r d w inning e s t a blis hm e nt lo c a t e d und e r t he t r a in t r a c k s in his t o r ic Sho c k o e B o t t o m . T he ir t a s t y c r us t t a k e s ov e r 1 2 ho ur s t o p r e p a r e a nd s w e e t r e d a nd r ic h w hi t e s a uc e s a r e m a d e d a ily o n s it e . B o t t o m ’ s U p p ie s a r e lo a d e d w it h t o p p ing s f a lling s o m e w he r e b e t w e e n C a lifo rnia a nd C hic a go s t y le p iz z a .

H a nd s d o w n, 8 ½ h a s t he a b s olute pizza in the w ho le c it y o f R ic hm o nd . St r a ig ht fr om the culinar y ge nius o f Ed Va s a io (Ed o ’ s Sq uid, Mama Zu), 8½ s e r v e s up o nly o ne s iz e o f p iz za w it h jus t 6 s lice s. T he ir p ie s a r e built o n a t asty, perfectly thin but s t ur dy c r us t . T he s p ic y r ed sauce will make yo u w a nt t o le a r n I t a lia n jus t s o you can pr ais e it p r o p e r ly, a nd t h e w hit e s a uc e will make you f all in lov e w it h w ho e v e r is c lo s e s t to you at the time.

To p q ua lit y t o p p ing s inc lud e f r es h mus hr ooms, cap e r s, K a la m a t a o li v e s, p e p p e r oni and s ome s eri o us ly go o d s a r d ine s a m o ng o t her s.

A w ho le p ie B o t t o m ’ s U p c a n b e a b it o f a s p lur ge but yo u jus t c a n’ t t a l k a b o u t p iz z a in R ic hm o n d w it h o ut me nt io ning t his p iz z a la nd m a r k . L uc k ily fo r t ho s e o f us w it h t hi nn e r w a lle t s t hey s e r v e p iz z a (inc lud ing t he ir s ig na t ur e p ie s ) by t he s li c e .

Tr y t he w a c k y St a t e Fa ir p iz z a w it h s p i c y b r o w n m us t a r d , r oa s t e d r e d p e p p e r s, c a r a m e liz e d o nio ns a n d s a us a ge . M y f a v o r it e is t he M a g g ie M a lay w it h r e d s a uc e , f r e s h s p ina c h, a r t ic ho k e he a r t s a nd I us ua lly s ubs t it ut e t he f r e s h t o m a t o e s w it h t he 2 4 ho ur r o a s t e d t o m a t o e s.

C a ll a h e a d t o o r d e r o r w a lk in, gr a b a cold Limona t a a nd w a it w hile w a t c hing some quir k y movie o n t he p la s m a s c r e e n (o r a ny of t he t ot ally cut e g uy s c o o k i ng t hing s up b e hind t he count er). I can no t s t r e s s ho w a m a z ing t his pizza is. I know a g uy w ho ha d t o b e t r e a t e d fo r de pr ession after he f inis he d t he la s t s lic e o f his 8 ½ pie. He sle pt with t he e m p t y b ox un d e r hi s p illo w for a w eek . Seri o us ly, it is t ha t go o d ! T he w e a ther is getting nice s o g r a b a p iz z a f r o m 8 ½ a nd picnic acr oss the s t r e e t in Sc uf f le t o w n Pa r k .

Arianna

7 0 0 N. S h ep pa r d St. 3 5 3-6 0 0 2

Arianna’s is one of the ne w e r p iz z a p a r lo r s in t he city but is of f to a gr eat s t a r t . Lo c a t e d in t he De vil’s Triangle of the mus e um d is t r ic t , t his p la c e has gr eat pizzas. T hey’ r e c ur r e nt ly und e r go ing a n expansion to make r oom fo r e v e n m o r e t a ble s a n d b a r se r vic e. It’s a gr eat plac e t o g r a b a q uic k s lic e with fr iends befor e wr eaking ha v o c o n t he t o w n.

Italian Delight

6 331 Ja h n k e R d.

3 2 0-670 0

Ita lia n D elight has been s e r v ing p iz z a s o n t he ir fr e shly made dough for 29 ye a r s a nd w a s o ne o f my f avorite pizza places a s a k id g r o w ing up o n Southside. T hey have sup e r c he e s y p iz z a s w it h homemade sauce and sp e c ia l s a t r e a s o n a ble prices. T hey also have calz o ne s, s t r o m b o l i, p a s t a , salads and sand wic hes, but d e li v e r y is lim it e d t o ne ig hbo rhood businesses o nly.

Assa n t e's 1 84 5 W. B ro a d St. 3 5 3-73 0 0

Southside

1 1 0 B elt B lv d.

2 3 0 -4 8 8 8 assa n t es p i z z a.c o m

As s a nt e ’ s is a s t a p le fo r c he a p la t e nig ht p iz z a c r a v ing s w it h t w o lo c a t io ns o p e n unt il 3 a . m . T hey o f f e r t hin a nd r e g ula r s t y le c r us t s m a d e f r e s h d a i ly a nd a ll t he s t a nd a r d M e a t L ov e r s, Sup r e m e , H a w a i ia n a nd B B Q s t y le p iz z a s, a lo ng w it h s o m e o t he r m o r e unus ua l s t y le lik e t he ir B a c o n D o ubl e C he e s e B ur ge r p iz z a . I r e c o m m e nd t he Ve g g ie Sp e c ia l w it h o nio ns, g r e e n p e p p e r s, b a na na p e p p e r s, bla c k a n d g r e e n o li v e s, m us hr o o m s, t o m a t o e s a nd ex t r a c he e s e (o r no c he e s e fo r t he v e g a ns o ut t he r e ).

Ad d s o m e ja la p e ño p e p p e r s fo r s o m e s p ic e a nd t r y no t t o d r unk d ia l yo ur ex a f t e r yo u o r d e r.

Piccola Italy 1 1 0 0 W. M a i n St. 3 5 5-31 1 1 w ww.p i c c o las.c o m

Like Ma r y Angela’s, P ic c ola ’ s a ls o o f f e r s N Y a nd Sicilia n sty le pizza, not s ur p r is ing b e c a us e t he owne r s ar e r elated. Loc ated in t he he a r t o f VC Ula nd, Picc ola’s is a lunc h f a v o r it e fo r f a c ult y, s t a f f and students. In the e vening s t he a t m o s p he r e is a little mor e upscale than a t y p ic a l p iz z a jo int a n d the lights tur n low on the d ining r o o m s id e fo r a perf ect, casual fir st date o r d r ink s a f t e r w o r k .

Piccola’s featur es pasta dis he s, s a la d s a nd o t he r Ita lia n f ar e, but if we’ r e t a lk ing p iz z a , I r e c o m mend a slice of the or the W hit e B r o c c o li p i z z a or the Eg gplant Par migiana p iz z a w it h e g g p la n t , Ro ma no c heese, and basil. It ’ s a b o ut t hr e e buc k s a slice and you’ r e golden!

Jo-Jo's Pizza

1 2 0 1 E. M a i n St. 2 2 5-9 6 0 0 o p e n m o n day t h ru fr i day

D o w nt o w n ar e a e m p loye e s lin e up a r o und t he bl o c k fo r Jo - Jo ’ s P iz z a a t lunc ht im e . H a ile d a s o ne o f t he b e s t p iz z a p la c e s in t he c i t y it ’ s a d a m n s ha m e it ’ s no t o p e n p a s t f i v e o r o n w e e k e nd s. T his N Y s t y le p iz z a jo int is k n o w n fo r is f r ie nd ly o w ne r, g r e a t s e r v ic e a nd r e a s o na ble p r ic e s. T he ir t o m a t o s a uc e ha s jus t t he r ig ht s w e e t ne s s a nd b it e t o it .

I t is w e ll w o r t h t he t r e k d o w nt o w n o n a w e e k d ay fo r a s lic e o r t w o o f t he ir c la s s ic p e p p e r o ni o r Flo r e nt ine p iz z a o n a t hi n c r us t .

Pronto Italian Bistro and Pizzeria 5 62 5 W. B ro a d St 2 8 8-83 0 0

P r o nt o ’ s i s f a m ily o w ne d a nd o p e r a t e d fo r 1 1 ye a r s a nd ha s s p le nd id go ur m e t t o p p ing s l ik e go a t c he e s e , s t e a k , p r o s c iu t t o a nd s a lm o n. P ie s t he r e ha v e go t a nic e c he w y c r us t a nd go o d s a uc e . I a t e lunc h he r e s o m e t im e s s e v e r a l t im e s a w e e k w he n I w a s w o r k ing in t he a r e a . T hey a r e f a s t a nd ha v e t he s p a c e fo r la r ge g r o up s.

48 carry-out

Delivery

dine in

by the slice

Pizza Place 1731 E. M a i n S t .

343-1 3 0 0

T his is c lo s e s t t hing t ha t R ic hmond has t o Jumbo Slic e . T he P iz z a P la c e is o p e n for lunc h but is m o s t ly k no w n fo r t he ir la t e nig ht s er vice t o dr unk a r d s (a nd t he o c c a s io na l d e s ig nat ed dri ver) s pill ing o ut o f b a r s a nd c lub s a f t e r last call is done a nd t he blind ing ho us e lig ht s have come on. I t ’ s a l s o k no w n fo r t he ir huge s lic es and lippy, albeit e nt e r t a ining s t a f f. I g ue s s I ’ d b e lippy t oo if I w as s lic ing up N Y s t y le p ie s fo r a bunc h of t ank ed pat r o ns w ho t a k e lo nge r t ha n 2 seconds to decide b e t w e e n a s lic e o f c he e s e o r p e pper oni. T his pizza is ex a c t ly w ha t yo u w a nt a f t e r last call, and as a b o nus, t hey a ls o s e ll c o nd o m s !

Mary Angela's 3 3 4 5 W. Ca ry St. 3 5 3-2333 maryangelaspizzeria.com

Local f avorite, Mar y Angela ’ s ha s b e e n d is hing u p NY and Sicilian style pies at t he ir p o p ula r C a r y t o w n stor e for over 20 year s. N a m e d a f t e r his nie c e , Ma r y Angela’s m enu is ba s e d o n t he c uis ine o f the o wner’s hom etown of Ca r ini in Sic ily. T he m o d e stly d ec or ated pizza par lo r f e a t ur e s m ur a ls o f the small seaside town as w e ll. M a r y Ange la ’ s i s a gr eat casual place to meet f r ie nd s fo r a b e e r a n d a slice o r catc h up on a goo d int e r na t io na l fo o t b a ll (socce r ) m atc h. T her e will a lm o s t c e r t a inly b e a g ame on TV in the dining r o o m . T hey s e r v e u p Italian f ar e, phenomenal ca lz o ne s a nd f r e s h r e d o r w hite p iz zas with a v ariety o f go ur m e t t o p p ing s.

I r e commend the Mar y Ange la ’ s Sp e c ia l w it h p e p p e r oni, s ausa ge, onion, gr e e n p e p p e r a nd m us h r ooms. It’s gr eat for lunc h o r d inne r, a nd t a ble s a r e wor th the w ait.

S u p ersta rs 5 7 0 0 Patt ers o n Av e.

673-3 6 63 s u p ersta rs p i z z a.c o m

T his C a lifo r ni a s t y le p iz z a f a v o r it e in t he We s t En d ha s d ine - in a s w e ll a s a uniq u e c a r r y o ut s y s t e m in w hic h yo u b a k e yo ur o w n p ie a t ho m e . Yo u c a n buy jus t t he f r e s h d o ug h, s a uc e o r a c o m p le t e ly a s s e m ble d f r e s h p iz z a t o t a k e a nd b a k e o n t he ir d is p o s a ble b a k ing s he e t in yo ur o w n ov e n. P ie s a r e m a d e t o o r d e r o ut o f a h uge a nd im p r e s s i v e lis t o f t o p p ing s inc lud ing f r e s hly m a d e p e s t o, s m o k e d oy s t e r s, s un- d r ie d t o m a t o e s, m a nd a r in o r a nge s, bla c k b e a ns, s p ic y T ha i c hic k e n, Vir g in ia p e a nut s a m o ng a ll t he o t he r us ua l s us p e c t s. Tr y t he L ua u w it h r e d s a uc e , C a na d i a n b a c o n, p ine a p p le s a n d m a n d a r in o r a nge s a nd t hr o w s o m e bla c k o li v e s o n t he r e . A r e yo u in t o w h it e p iz z a ? Tr y t he So - C r a t e s w it h c ho p p e d g a r lic , f e t a , o r e g a no a nd s un- d r ie d t o m a t o e s w it h t he ir c r e a my w hit e s a uc e , t ho ug h my f r i e nd s w e a r s it ’ s b e t t e r w it h r e d . O f c o ur s e , yo u c a n m a k e yo ur o w n , t o o.

Tarrantino's Pizzeria

One W. Broad St., 2 2 5 -0 0 3 5 ta r r a n t s ca f e .o r g

Tuc k e d int o Ta r r a n t ’ s C a f é , Ta r r antino’s pizza is a g r e a t s p o t t o g r a b a p iz z a b efor e t he Fir s t Fri d ay s Ar t Wa lk , o r if yo u’ r e w o r king or li ving in the a r e a . T hey ha v e r e d a nd w hit e signatur e pizzas o r yo u c a n build yo ur o w n f r om a gr eat lis t of t o p p ing s o n a nic e c r is p, t hin cr ust. I r ecommend t he Q ua t t r o Fo r m a g g io, a w hite pizza w it h mozz a r e lla , a s ia go, p a r m e s a n a nd ricotta c heese. I lik e t o ge t it w it h lo t s o f g a r lic for r eally aw es ome d r a go n b r e a t h!

Zo r ba's

4 0 2 6 M a ca rt h u r Av e .

2 64-537 0

Zo r b a ’ s is a g r e a t p iz z a p la c e r un by an eccentric G r e e k f e l lo w. Tr y a w hit e p ie with feta and blac k o li v e s w it h a nic e , c r is p c r us t. If you’ r e pic king up, m a k e s ur e t o b r ing q ua r t e r s to play one of the r o t a t ing p inb a ll o r o l d s c ho o l video g ames. M ak e s ur e yo u a s k t he o w ne r, To m , a bout his inter esting lif e s t o r y.

This is How W e Do It Mike Rut z and Talia Miller

The idea for this column originated in our mutual Theorizing Gender Violence class. Since then, we have had several in-depth conversations regarding sex and gender in a social context and how sex plays out in our lovely city. What we quickly realized is that this topic is rarely, if ever, discussed in an open and honest context. That’s what we strive to be with this column: completely open, honest, and as objective as possible in our sociological exploration of sexuality. If you would like to respond or of fer additional insight to a column, please email us at thisishowwedoit@rvamag.com.

Building on what we d i s c u s s e d i n t h e l a s t c o l u m n , t h e r e are cer tainly men in R i ch m o n d w h o h o l d l i b e r a l a t t i t u d e s about sex and proba b ly d i s a g r e e w i t h s o m e o f t h e t h i n g s we said. We need to ke e p i n mi nd t ha t o f t e n g u y s w il l s ay that they are atypic a l ( i . e . n o t j e a l o u s , d o n ’ t a d h e r e t o the d o ubl e s tandard) j u st so t he y ca n ma i nt a i n th e ir s e l f image. They think, I ’ m a “ p r o g r e s s i ve ” m a n , s o I d o n ’ t a c t like that. What that d o e s i s i g n o r e t h e e x p e c t a t i o n s t h a t have been ing rained i n m e n s i n c e b i r t h . A m a n m ay fe e l 50

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l i ke h e h a s e ga l i t a r i a n v i e w s a b o u t m e n a nd women and s e x , b u t j u s t a b o u t e ve r y o n e in Am e r ic a h a s b een socia l i z e d w i t h l e s s - t h a n - p r o g r e s s i ve a t t i t u d e s , a nd continue to b e . T h a t ’ s w hy t h e y n e e d t o b e t a l ke d a b o u t openly and not s we p t u n d e r t h e r u g , s i n c e t h e s e a t t i t u d e s about sex are present in all of us to a small extent.

J u s t b e c a u s e y o u c o n s i d e r y o u r s e l f l i b e r a l doesn’t mean t h a t y o u d o n ’ t fa l l i n t o u n h e a l t hy p a t t e r n s , and that goes fo r m e n a n d w o m e n a l ike . T h e r e is a r e a l d a nger in saying t h is d o e s n ’ t h a p p e n b e c a u s e we l ive in a p r og ressive subc u l t u r e , a n d a s s u m in g t h e r e ’ s n o t a n is s u e . Accep ting and a d d r e s s i n g t r a d i t i o n a l b e l i e f s a b o u t s e x u a l ity is the only w ay we c a n c r e a t e ch a n ge i n p e o p l e ’ s b e h av iors. It’s easy t o p o i n t f i n ge r s a t m a i n s t r e a m s o c i e t y, b u t we all have to d o s o m e t h in g a b o u t it . I f y o u s ay t h is d ia l o gue d oesn’t a p p ly t o y o u , t h e n y o u a r e r e a l ly fe e d in g in t o the d om inant culture.

A s we s a i d i n t h e ve r y f i r s t c o l u m n , we put up a lot of fr o n t s . W h il e we m ay b e d r in k in g s p e c if ic a l ly to l ower inh ib it io n s , o n c e we ’ r e in t ox ic a t e d a n d t h a t façad e br ushes aw ay, we s t o p a c t i n g h ow we ’ r e “ s u p p o s e d” to act. Who k n ow s , a l l o f t h o s e i n s t i l l e d b e l i e f s a n d b e haviors might c o m e r u s h in g o u t w h e n we ’ r e in a d if fe r e n t sta te of m ind .

O n c e t h e m a l e e g o o r fe m a l e e g o is e x p o s e d , you can’t say y o u d o n ’ t a c t l i ke t h a t … b e c a u s e y o u j u s t d id! And it may n o t e ve n c o m e o u t u n t i l we s t a r t c a r i n g a bout someone.

R i g h t n ow we s ay, I ’ m n o t l i ke t h a t , b u t we also may not h ave s o m e o n e i n o u r l i ve s w h o c a n p u t u s in a situation w h e r e fe e l i n g s o f a n ge r o r j e a l o u s y o r r e sentment may

sur face. So, we have t o b e m o r e aw a r e o f t h e m a n d t a l k abou t them. And bein g dr u nk i s ne ve r a g o o d e xc u s e .

This also means wom e n h ave t o b e m o r e aw a r e o f h ow t h e y p e r p e tuate the virg in-w ho r e di cho t o my a nd o t he r ge n d e r stereo types. Women a r e t h e ga t e ke e p e r s o f s e x a s o f t e n , or more of ten, than m e n . I n d i v i d u a l ly, w o m e n m ay h ave their own adventuro u s s e x l i ve s . H owe ve r, w h e n i t c o m e s to talking about each o t h e r ’ s , t h e y c a n b e ve r y c r i t i c a l , even cr uel . When g u y s t a lk a b o u t t he i r se x li ve s w it h o t h er men, there’s ver y l i t t l e j u d g m e n t p a s s e d . E ve n i f t h e y make a joke about a w o m a n , t h e r e ’ s l i t t l e , i f a ny, m a l i c e towar d the g uy who ha d se x w i t h he r. S o w ha t d o e s t h a t say about women and t h e i r ow n s e x l i ve s ?

This g o es back to je a lo u sy, b u t t hi s t i me i t ’ s g ir l s ’ j e a l ousy. Women are rai s e d t o b e i n c r e d i b ly j e a l o u s o f o t h e r women and to covet t h e m a l e ga z e . T h e u l t i m a t e g o a l i s to ge t men to no tice y o u . A w o ma n i s a lw ay s i n c o mp e t ition with other wome n fo r i t . T h i s c o m e s o u t w h e n t a l k i n g abou t yo ur s ex l ife, a nd i t ’ s t he mo st di r e ct m a n ife s t a tion of that rivalr y b e c a u s e i t ’ s t h e m o s t b a s i c i n s t i n c t .

There’s a tendency t o p i ck a p a r t e a ch o t h e r ’ s s e x l i ve s , which just do es n’t ha ppe n w i t h me n. Wo me n w i l l e ve n g o of f an d tal k abo ut the i r f r i e nds’ se x li ve s w i t ho u t t h a t p e r son i n the ro o m, pick a pa r t t he i r r e la t i o nshi ps a n d g o s s ip .

If you can’t talk abo u t h ow m u ch s o m e o n e i s h o o k i n g u p , you can at least talk a b o u t w h o t h e y ’ r e h av i n g s e x w i t h .

And this isn’t necess a r i ly l i m i t e d t o w h o t h e i r g i r l f r i e n d s are sleeping with, b u t w h o t h e i r g u y f r i e n d s a r e t a k i n g home, to o .

Fo r a l l i n t e n t s a n d p u r p o s e s , w o m e n a c t u ally talk about s e x m o r e t h a n m e n . A n d i t ’ s o f t e n u s e d as a character j u d ge . A l o t o f t im e s y o u h ave t o j u s t if y t o a girl friend why y o u p i cke d a c e r t a i n p a r t n e r, o r w o m e n will say things l i ke , I h o o ke d u p w i t h h i m f i r s t o r h e h a d a cr ush on me o r h e h o o k s u p w i t h a ny o n e . W h o s h o u l d be setting the s t a n d a r d s ? T h e g o a l a p p e a r s t o b e t o m a ke som eone feel b a d a b o u t t h e ir b e h av io r o r m a ke t h e m fe e l em b ar rassed o r s e c o n d b e s t , a n d t h a t ’ s p r e t t y s h i t t y. I t also seems like a w ay fo r a w o m a n t o b o o s t h e r ow n s e l f - e s teem, which is j u s t p a r t o f t h e c o mp e t i t i o n fo r t h e m a l e ga ze and another w ay w o m e n p e r p e t u a t e t h e ir ow n s t e r e o t y p es.

Al t h o u g h w o m e n m ay n o t c a l l e a ch o t h e r p r ud es anym o r e , t h e y s t i l l i n s i n u a t e t h e w o r d s “ w h o re” and “slut”.

T h e y a r e n ’ t a p p l i e d t o e ve r y g i r l w h o s l e e ps around, but a r e u s u a l ly r e s e r ve d fo r w o m e n w h o c r e a t e a lot of extra d r a m a a n d t e n s i o n t h r o u g h t h e i r b e h av i o r. They’re called s l u t t y b e c a u s e t h e y d r aw a t t e n t i o n t o h ow much sex they h ave . B u t e ve n if m e n a n d w o m e n u s e t h e ter m s d if fere n t ly, t h e y s t i l l r e i n fo r c e t h e c o n t r o l s o n w omen’s sexual b e h av i o r. T r a d i t i o n a l ly, w o m e n a r e n o t s u p p osed to be like t h a t . An d w h e n w o m e n t a l k a b o u t e a ch o t h e r’s sex l ives or m a ke t h e ir f r ie n d s fe e l b a d a b o u t h o o k in g up with som eo n e , i t ’ s a c o n t r o l m e ch a n i s m , t o o . T r a d i t i onally, women a r e s u p p o s e d t o g o s s i p . Wo m e n a r e a t t e mp ting to control e a ch o t h e r ’ s s e x u a l it y a n d s e x u a l b e h av io r and a l arge m ot i v a t i n g fa c t o r b e h i n d t h a t i s j e a l o u s y. R e gardless of our m o t iv a t in g fa c t o r s , b o t h w o m e n a n d m e n m ust be ca reful n o t t o g ive in t o t h e d o u b l e s t a n d a r d .

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O n A pr il 4th at 11 a.m . I c r o s s t he r e c e nt ly r e pair ed footbridge to an und is c l o s e d lo c a t io n w it hin the city lim its of Ric hm ond . T he r e is a p a c k o f BMX r id er s building a dir t la nd ing, m e r r ily c huc k ing dir t ov er shoulder and p a c k ing it in. A b it later they’ r e huc king acr os s s a id fo o t b r i d ge w it h a r idiculous r am p and be gin la unc hing t he m s e lv e s fifteen feet in the air. By 1 p. m . , t he r e a r e ov e r

a t ho us a nd r id e r s & s p e c t a t o r s c r o w d e d a r o und t he r us t ing r o o f t ha t ho us e s Sla ug ht e r a m a a s hun d r e d s m o r e s w a r m a c r o s s t he r i v e r, d e s c e nd i ng o n o ne o f R ic hm o nd ’ s g r e a t e s t t r a d it io ns. C yc lis t s f r o m a ll c o r ne r s o f t he c o unt r y r e p r e s e n t ha r d , p a s s ing b e e r s a s t hey r o ll t hr o ug h r id ic ulo us e v e nt s. T he c o m p e t it io n is f ie r c e , ye t int im a t e ly f r ie nd ly. T he r e is no a g g r e s s io n w it ho u t lov e , no

blo o d w i t ho ut s m ile s, n o s hit t alking without hugs.

W ha t I s a w is b eyo nd d e s c r ip t ion, t he e pit ome of f un, a nd t he im a ge s p r e s e nt ed her e bar ely do jus t ic e t o t he g ig a nt ic p ile o f aw es ome t hat w as Sla u g ht e r a m a 2 0 0 9 . M y t ha nk s go t o t he Cut t hr o a t s fo r ho s t ing a nd p la nning t he e vent s, and e v e r yo ne w ho d r a nk my b e e r.

- I an M . G r aham SL AUGHTERAM A

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