As a panelist I felt a weighty duty to teach and impart pearls of wisdom to the musicians, label people and publicists who braved the rivers of green beer and gathered in the Convention Center for my seminar, Working The Press; Intellectual Intercourse and Interviews.

photo by christopher holcombe

We spent an hour discussing how to land a good radio or TV interview and how to behave properly once you do.

I realized as I was speaking that I was doing it, not only for the audience, but also for myself and my fellow hosts. As I showed the infamous clip of Johnny Rotten behaving badly on The Tom Snyder show, as well as that blisteringly uncomfortable Billy Bob Thornton interview, I realized that I may be helping many of my fellow talk show hosts and radio DJs in the process.

We are not the enemy. We are there to help and we love music just as much as the ones who create it. OK, so my speech was a little Jerry McGuire and a little Almost Famous. I got very Cameron Crowe on their asses. But I borrow from the best.

After the seminar was done, it was rock and roll camp time. Every year, SXSW becomes a bit more unmanageable. More corporate sponsors bring in their forts and tents and unapproved soirees that overshadow the showcasing bands who bust ass to get to Texas and play their hearts out.

I’m not complaining about a free taco and a margarita but I think its a fucking shame that Perez Hilton spends thousands of dollars to paint a building pink, and fly Snoop Dog in for a party that will ultimately keep thousands of people from going to a showcase where a hardworking band (who probably spent every cent they had to get out to Austin) is playing. It sucks and it’s not what SxSw is about. Well, like Sundance, it’s unfortunately what SxSw has become.

I did attend some parties, but I tried to balance it out with showcasing bands and up and coming acts. Here is a cross-section of some of the highs and lows, deep in the heart of Texas.

photo by Eugene Hernandez

I caught a Shadow Shadow Shade performance/taping at the IFC studios Tuesday evening. The band formerly known as Afternoons took to the stage to play some sunny pop in the crowded studios. Though the songs were well crafted and well-played, they didn’t hold my attention very long.

Unfortunately, this was something that was a common occurence this week and a deadly problem for any band vying for attention in a city with thousands of others playing slots at any given time. A LOT of bands in LA/Silverlake right now have that throwback 70s sunny Cali pop sound. I don’t dislike it. In fact, I do like it. What I don’t like is when everything gets very samey. I don’t blame the bands for this, necessarily. I just find it hard to listen to all of it over and over again. When everything begins to sound the same (whether it be sunny pop, electronic MGMT stuff, Emopunk, Hotel cafe, or whatever,) then you better be THE BEST out there, or you will get lost in the Hollywood shuffle. Being great isn’t always enough. Emmitt Rhodes anyone?

Band Of Skulls played at the British Embassy Barbeque party Wednesday afternoon…well BBQ it wasn’t  - not unless you can count empanada type pasties in a chafing dish as a barbeque. Since the food was served al fresco, perhaps the Brits cheekily thought it was Tex Mex style? No matter, I love them all the more for it.

Band Of Skulls, one of the best new bands out there and I dare say, one of the best showcasing bands at South By Southwest, tore apart the stage and showed a craftmanship that has even improved since their being on the road via their Twilight soundtrack spot  and BRMC touring slot. Yet theirs is not a polished poppy sound. It is the cool fuzzy, garage rock sound of an old amp Jimi Hendrix would have plugged into. Amen. For a video interview with the band, click here.

At the NPR showcase, I was introduced to Visqueen who opened for a juggernaut lineup of The Walkmen, Sharon Jones And The Dap Kings, Broken Bells, and Spoon.

The Walkmen and their drunken fairy saloon music have always been favorites of mine. Lead singer, Hamilton Leithautser, is more Sunday New York Times cross word puzzle than Vice Magazine Do and Donts, which makes me supremely happy.

Sharon Jones and the Dap-Kings stormed the stage next with some Motown madness which goes to show that the music business is not just for the kids. Jones is a tour de force performer and though it was an older skewed crowd at the NPR showcase, she is almost wasted at a dust bowl like Stubbs. She should be doing class venues such as the Hollywood Bowl.

The next act, was the highly anticipated collaboration between Dangermouse and Shins lead singer James Mercer, Broken Bells. After what seemed like a forever and a day set up, the set was lackluster and uneven, disappointing many in the crowd, which thinned out considerably.

Spoon followed next. Britt Daniel, the unofficial mayor of Austin, did not disappoint the toe tapping, mild-mannered, tax paying NPR crowd, playing many off the new album and even covering the Damned.

Looking for a little bit more trouble than I’d find ala NPR, I dragged myself to a 1:30 am Hounds Below show that did not disappoint. Mixing Brill Building and fuzzy Detroit feedback. Jason Stollsteimer’s new band rocked the Habana Calle into the wee hours of the morning. The band even promised a hot tub party for those who could brave the 1-35.

The Hounds Below

I’m glad for the Roy Orbison, 60′s sound revival that is making a comeback with acts such as Findlay Brown, Codeine Velvet Club and the Motown sounding acts.

On the other side of feedback was The Butterfly Explosion. All the way from Ireland and fronted by Gazz Carr, this Musebox Act kicked off the daytime party with fuzzy, brooding songs. It was half way into their set before anyone noticed the sun was shining with all the shoe gazing going on. The band is a mix of shoe gaze and post rock; Ride meets Sigur Ros with of course some MBV, but with their own lush spin on it. If you like euphoric musical landscapes then you need to check out this band.

Butterfly Explosion

I traipsed over to the Babelgum party at the French Legionare Museum which was on this gorgeous property, rolling lawns gated by stone walls and large trees, tented stages and drink booths…it was much more Coachella than SxSw vibe. The only problem was the sound. It was such a muddy mess that it made The XX sound like they were drowning inside a subway toilet. It was so dreadful I decided to leave rather than to think of them as being that bad.

My next discovery was perhaps one of my favorites of the festival. ARMS sprung forth from the breakup of The Harlem Shakes. Todd Goldstein reformed ARMS, a solo project he had started in ’04, and began performing wry melancholic songs about an unraveling couple. The songs have killer harmonies with a Walkmenesque quality, which makes sense, considering ARMS has found a home with the Walkmen’s label, Gigantic.

Todd Goldstein - ARMS

Goldstein’s vocals have almost a  Michael Stipe and Stephen Merritt quality, wavering yet angry. Still the most interesting thing about the live performance was Todd’s stage presence. Charismatic, and witty in between numbers, he remained far more upbeat than the story line of the doomed couple in his gem of an album, Kids Aflame.

The Rolling Stone Showcase boasted a lot of up and coming artists that hipsters, journos and label people were eager to hear. LA based Dawes played to a sparse crowd, warming up for buzz band The Whigs.

The Whigs

The Whigs had the heavy head when they were crowned by Rolling Stone last year as the best unsigned band in the country. That can often wreck a groups chances, but so far they’ve managed well. Signing with ATO, they hopped on a tour with Kings Of Leon and Dead Confederate. Luckily their dirty Garage sound skews more towards the swirling madness of Dead Confederate with the buoyancy of Kings, but they play songs with more than three chords. They kicked off the show with the battle cry “Turn off the lights, it’s time to party!” and they meant it. They dove into the set, with driving bass lines reminiscent of their future tour mates, BRMC. The Whigs have a bright future. Hopefully they will keep their rock dirty and varied.

Titus Andronicus, another RS buzz band already named the best of 2010, (oh Rolling Stone. You cheeky monkeys. It’s March!) To me, from where I sat crouched by the bar, they seemed like a high performance level shoegaze band named after one of The Bard’s less performed plays. But I could be downplaying them quite a bit. Perhaps that’s because the next band was such a party in a bottle.

Free Energy is the next party cruise in 40 tight minutes. If you like Sweet, Cheap Trick, The Cars, Thin Lizzy, and cute boys who drink beer, then get ready to dance your face off. These guys are only here to make you have a good time. That’s it. They play, you dance. You forget your troubles. It’s the Andrew WK philosophy, minus the fake blood and puke and sticky aspects of rock and roll. It’s the boys answer to The Donnas. The 70′s glam rock era revitalized with tight black jeans and runaways and satin jackets and extra lip gloss just paves the way for Free Energy’s sweet sexy glammy classic rock to make you want to can the can with Suzi Q, Gary Glitter and the rest of them. Each song sounds quite anthemic – perhaps these boys will be played in stadiums during very important sporting matches someday to unsuspecting jocks. But for now, they just wanna have fun.

Free Energy

One of the coveted laminates to wear around your neck was for the Spin showcase at Stubbs. The line up was a  schizo combination: a luke warm set from Rogue Wave, a manic set from Fucked Up (including lead singer, Damian Abraham, creating his own muddy mosh pit by pouring bottled water into the dusty ground in front of the stage and rolling around in it),

Fucked Up - Make Your Own Mosh Pit, Just Add Water

and a lightweight set from the elusive electronics of Miike Snow, which didn’t seem to translate in the broad daylight.

Miike Snow

But the real elephant in the room was waiting backstage. Courtney. It was the first time Hole was playing in the US in ten years. And without Hole. Would she show? Would she have a melt down? Would she be fat? Gawkers, detractors and mega fans everywhere were sticking around through the rather tepid showcase just to catch a glimpse of what I dubbed the Love-Train-Wreck.

The Love Train Wreck pulled into the Stubbs station about twenty minutes late, but for Courtney time, that’s no big thang. Wearing an orange pageant sash that was emblazoned with ‘Beware’, that most likely doubles as caution tape, Love launched into a curious cover of ‘Sympathy For The Devil’…I was not sure she was going to get any, as she announced “We are Hole, whether you like it or not, you little shit sucks.”

Wearing some type of wild, wild, west bar whore outfit and sounding like Stevie Nicks on a bender if she had been gargling with a cheese grater, Courtney flirted with being on key and was brash and confident…she was, well, Courtney.

Playing a mix of older hits (Violet, Reasons To Be Thankful, Miss World) and newer ones (Skinny Little Bitch, Samantha) Love tried to win over the crowd and coax us into thinking that her new songs would vault her back to superstar status. But even when she was making fun of Bret Michaels for being a washed up mess, I couldn’t help but think, ‘Courtney, isn’t that like the Hole calling the chasm, black?’

After a round of meetings and dinners I was whisked back to Stubbs for the Myspace secret show which turned out to be the worst kept industry secret – it was Muse and Metric. I like both bands but what made the night was seeing New York friends I hadn’t seen for ages.

What was unfortunate was the loooong line of über Muse fans that snaked down the streets of Austin who didn’t get close to getting in, while A&R people stood around and didn’t even watch the performance. Oh Music Industry, you big bitch. Afterwards there were many cool show to see. Sixth street in of itself was a carnival, like Mardi Gras, and when my friends and I jumped into a pedi cab to get to another showcase, drunken revelers literally swarmed the cab and began rocking it, trying to get us out. I’m not sure if they were trying to turn the thing over or scare us or the driver…but we were amazed.

This is SxSw, not a Lakers parade you asshats. We know how to handle you and you will get a beat down.

Saturday was my last morning before I escaped Margaritaville and I planned on hitting a few barbeques and panels before the airport.

Bob Schneider played a fun set at Stubbs early in the morning at the Rachael Ray event. And it has become quite an event. My friend and I went over there to catch School of Seven Bells. It was freezing and slightly raining and the place was set up with the sponsors frozen drink machines, instead of the coffee people so desperately needed. Funny thing…the ‘yummo’ food that Ray is supposedly so famous for, was pretty fucking awful. As was her husband’s band, which I think is the whole reason she puts on the event. The name of his band is called The Cringe…I don’t even need to comment further. He’s done my job for me.

Free Energy and LA favorites Local Natives played the small indoor stage (of course. Let The Cringe play the Main Stage and clear the venue. Good idea. Yummo). Andrew W.K.  got some people to party hard…although not too hard, because we were all in danger of losing our limbs to frostbite.

I headed to the convention center early to warm up and catch an amazing panel on Bill Hicks, one of the greatest comics that ever lived. A documentary about his life played at the film festival throughout and I have to say it was an amazing panel discussion – possibly the highlight of the week.

Bill Hicks

Oh Austin. You sure did keep it weird. Your mercurial hot and cold weather. Your open doors to spring breakers and corporate whores. Your damn Grackles. But I love you and I keep coming back for more. Next year? Same time, same place?

I have a full report on my favorite finds of the festival but the only interview I granted during the whole week is a band I’ve been talking about for a year now…yes the ONLY interview I agreed to do. Band Of Skulls.

These guys knocked me off my stiletto boots in the cramped sweaty back room of Three Of Clubs last summer. And I’ve made sure not to miss their LA performances ever since whether it be at Jimmy Kimmel or the Hammer museum. Their LP release Baby Darling Dollface Honey, doesn’t have a bad song on it and is chock full of dirty sexy soulful riffs -  the way the guitar was intended to be played .

Now boasting a spot on the Twilight: New Moon soundtrack, a Lollapalooza performance, an upcoming Coachella slot and a currently touring with BRMC, it seems that Band Of Skulls is catching on across the nation. Normally that would annoy an uber fan. I’d complain that I saw them first and their popularity means that they no longer hold that special something. But it isn’t so. I’m super excited for the world to discover this bluesy ballsy band.

It’s time to stop giving our attention to the pussy auto tuned acts and start turning our attention to the deserved few who are letting it bleed. Ladies and gentlemen, I give you BAND OF SKULLS:

I will be giving a seminar this year on how to speak to the press. A few different publications have been kind enough to choose me as one of their picks of the festival. Here’s and interview with Traffik that is a good overview of what I’ll be discussing. If you’ll be in Austin, come on down! Wednesday, March 17th at the Austin Convention Center, Room 11B.

AMMUNITION: ARM YOURSELF:

SXSW 2010 Panel Picks – Working The Press: Intellectual Intercourse and Interviews

With so many panels to choose from during the SXSW Music and Media Conference, it can be hard to decide which to attend.  We’ve gone through the list and will be bringing to your attention the ones that we thought would best help the independent musicians.  Starting off with our first pick, Working The Press: Intellectual Intercourse and Interviews.

Ali MacLean knows her stuff. It’s as simple as that. With the entertainment industry constantly plagued with a flood of “self-described experts” that amount to nothing more than smoke and mirrors, individuals that have the actual experience to back up the talk are few and far between. Maclean possesses an enviable resume that would make those of her colleagues appear anorexic and lacking in comparison.

Vast experience as an on-air talent, writer, producer (MTV, VH-1, ABC, Fox, Indie 103.1 FM, Little Radio, Vlaze TV, Sirius Radio, Kathy Griffin’s So Called Reality, Celebrity Death Match) as well as a background in stand-up and sketch comedy (HBO’s Mr. Show, VH-1’s Ill-Ustrated) have allowed MacLean to learn the ins and outs of the entertainment industry from being both in front of the camera and behind it. All of this combined with her journalistic talents (Urb TV, Antiquiet TV, Huffington Post) and her passion for good music (expressed via her occasional dj sets and radio shows) lead her to be a logical choice to bring a Music Panel focusing on teaching the “best interview techniques and ways to use press attention to your advantage,” titled Working The Press: Intellectual Intercourse and Interviews to the 2010 SXSW Music and Media Conference.

Fresh from directing a film short called ‘DJ Intervention,‘ starring Arabian Prince from NWA, Adam 12 from She Wants Revenge, Ken Jordan from Crystal Method, and Rhettmatic from the Beat Junkies (Part One can be found on Funny or Die.com where you can vote funny for it, and Part Two will soon follow), Ali MacLean took some time to answer some of our questions regarding her upcoming panel (set to take place Wednesday, March 17th at 2:00 pm in Austin Convention Center Room 11B) as well as why she decided to bring this topic to this years SXSW attendees.

TRAffIK: What prompted you to want to bring such a topic to SXSW?
AM: A lot of people ask me questions about how they can get press or get their demos to the right people. That paired with some disastrous interviews and really bad behavior during interviews I conducted or interviews I’ve seen, I figured it would be very useful to the musicians and the publicists attending the festival.

TRAffIK: What should those in attendance of your Panel/Discussion expect to come away with?
AM: Hopefully they will have a better sense of how to get press for themselves or how to approach a press campaign, get a publicist or journalist to notice them… and definitely how to behave when they are on a TV show or radio show.

TRAffIK: Who were some of the subjects used in your examples that you’ll be sharing to illustrate your points (if you are at liberty to share)?
AM: I have a few aces up my sleeves. I may actually have someone there, an example too if he is available.

TRAffIK: In a world where so much value seems to be placed on artists/bands interacting with their fans and the media, why do you feel (if you feel this way) there are still a large number of artists that treat the media as enemies rather than as positive or even potential career boosters?
AM: I think it’s fiction at this point, or at least I hope it is. Anyone who still harbors the idea that the press is the enemy is pretty idiotic. For a band to want to be on television or on the Pitchfork homepage or the cover of Rolling Stone, but at the same time hate them…well it’s a bit contradictory. I can understand being wary of how you are portrayed by the media. That’s legitimate. But to hate the medium you are trying to use doesn’t make sense. Use it to your advantage.

TRAffIK: As someone who has interviewed more than her fair share of artists (both established and up and coming), what are some of the mistakes you see done repeatedly by artists when it comes to the media?
AM: Well, being rude is the first thing that comes to mind. That’s never going to endear you to the public. Throwing your weight around once you get a little bit of notoriety doesn’t make your music any easier to listen to. I always say, there are a lot of talented people out there: I might as well work with the nice ones.

Sometimes publicists can be over protective of their new artists and they wont let them interview with smaller outlets or bloggers. In this day and age that’s a big mistake. Today’s blogger could be tomorrow’s mogul. Lady Gaga was launched on a blog. So being snotty about smaller journos is stupid. Pitchfork was just a website once too…I’m not saying they should do any and every interview, but with new media, it’s possible for a smaller outlet to get an artist’s music to a lot of people, grassroots style.

TRAffIK: Do you feel that it is the more established artists that aren’t always as cooperative, or is it the newer up and coming artists that more commonly behave in this manner?
AM: Actually, the bigger artists are usually more accommodating. It’s usually the less established artists who are pains in the necks. Or their handlers are. Some artists who have just started to get some traction can sometimes be difficult. They are late or they don’t show up and if they do, they can be sullen or rude. The major artists are usually very graceful and good interviews. That is why they will stick around. The artists that give me a hard time? I rarely see them come through my studio twice. They burn out fast.

TRAffIK: Do you think there is a template that artists should follow when dealing with the media or do you think it should be something that varies among artists?
AM: It’s probably different for each artist depending on their personality and type of music. Some people are comfortable speaking to a journalist and some aren’t. Some have music that lends itself to storytelling and discussion, others don’t. So I think it’s hard to tell people to follow rules. I can give them a general idea of what to do, but they should tailor it to what is comfortable for them and what works for their music/business.

TRAffIK: Most artists/bands get excited to receive any press especially in the beginning. How selective do you think artists should be when deciding who to be interviewed by given the overwhelming amount of music and lifestyle blogs/magazines/websites out there these days)?
AM: Well, in the beginning, it’s not necessarily going to be Rolling Stone knocking on your door. You need to decide if you want to be interviewed by the local paper. Are you someone who is part of the local music scene? Are you only to be known nationally? Are you going for a social media audience? Do you want to brand yourself through a company?? Are you ok shilling for a company and therefore being written up on a corporate company website i.e. for an energy drink? It really depends on what is ok for you and your sound and what you’re going for. Some bands only want to be written up by certain publications and they will have to wait for that press. Others believe that any press is good press.

There is a glut right now of blogs, so it is easier to be written about. It’s up to you to discern if it’s something you think will help get your name out there. Be savvy and look at what the journalist has written about before. Do some research and see if it’s in line with what your music is all about and what you want to be involved with. If that doesn’t matter to you, and you’re just looking to blanket then just go for it.

TRAffIK: What are some of the basic guidelines or rules that you wish artists would abide by when it comes to dealing with the media?
AM: Be polite. It’s like a first date or a job interview. We are actually working when we are sitting there with you… and if we have done our job we have spent hours prepping and researching all about you before you even got there. So be on time and polite and relaxed and ready to talk. I’ve had musicians be out and out hostile right at the start. I’m there to make you look good and help your career. Why are you aggro at me? So just try to relax and have fun and share a little bit about yourself and your music and give your fans a little hint into your world. That makes our job easier and makes you look good.

TRAffIK: Who are some artists/bands that you have seen effectively use the media in a positive way?
AM: There are a lot of examples of artists using the media or press to their advantage musically or otherwise. If you can have the press eating out of your hand and covering your every move, then you are, in essence, using them effectively. As for using them positively? That’s an objective question. Bono uses the press’ attention and he gets to try to pay down world debt. He uses the press as a tool for his own advantage and in turn uses that advantage to help others rather than advance his music because his career is already secure.

As for new bands using the media, I always look at artists who take a different path. Amanda Palmer has done a great job leveraging Twitter. And OK GO has really used YouTube video to their advantage.

TRAffIK: Is there a certain way that you like to be approached by an artist/band who is seeking coverage from you?
AM: If you see me out you can hand me something. You can always send me something through the mail.

An email is probably the other way to go. I prefer a brief introduction of who they are and how they found me or met me…i.e. they read my site/blog or we met in person. Then they can attach an mp3. If they tell me to go to a website and they don’t include a link I probably won’t ever make it there.

Don’t Facebook me or Myspace me… and tell me to be a fan of yours. I get thousands of those and have a hard time getting through them.

TRAffIK: We would consider you to be a SXSW pro by now, having even put on events during this week of music mayhem. Would you have any advice for bands on making the most of their trips to SXSW especially for the first timers? How about just for the general public?
AM: Honestly? Don’t drink too much. I know that sounds like ‘don’t breathe air’, but if you’re planning on getting things done, try to cut back on the binge drinking or you wont remember who you met. Get as many business cards as you can and see as many great acts as you can. Go to the daytime parties…and don’t throw big parties in your room at the Intercontinental. They don’t like it.

TRAffIK: Are there any Panels or Discussions aside from your own that you are looking forward to attending and why?
AM: I’m looking forward to the panels on CBGBs and Bill Hicks…the 1977 CBGBs era of music is one of my favorites and Bill Hicks was a comedic genius…we could really use him today with the current political climate.

TRAffIK: Where can everyone see more of or read more by Ali MacLean?
AM: You can read my blog at http://aliontheair.wordpress.com/ and I also blog for the Huffington Post. I’ve taped three comedies this pilot season and I’m developing a new music web series called “Eat To The Beat” with My Damn Channel. More info on that will be updated on my blog.

TRAffIK: Where can people contact you?
AM: You can contact me through my blog or at aliontheairblog@gmail.com

I attended the SxSw three ring circus, which has expanded to an 8 ring cirque de soleil of hyped hyphy drunk proportions. I took part in the Eastsport media lounge where Vlaze teamed up with Urb magazine, Girlie Action pr, VH-1 Classics and several sponsors. The bands would come in and get some food drink and swag, and then do a sit down interview with yours truly.

Big ups to Jessica and the lovely people at Girlie Action, Josh G. my media mafia partner from Urb Magazine, and Skull Candy who graced my golden head with new pink headphones. I already had a pair of white Skull Candy cans that I use on air at Little Radio, so don’t get all bent out of shape because I have girlish Barbie colored ones now. I can spin vinyl in any color headphones…I’m just that damn talented.

I was so busy working and doing interviews this year, that I unfortunately didn’t get to catch many shows. I have to say, though, that the Body Of War show was amazing. It was the only ‘showcase’ that wasn’t about self promotion, but about a cause. Check out more about the film here.

So I don’t have as many pictures this year, but the ones I do are behind the scenes, side stage or right up front. Quality over quantity, I say.

Hope it helps paint the crazy picture, if you couldn’t go – or remind you of how tired you STILL are, if you did. Thanks to Totally Like Duh and Shadowscene and to all of you who made me laugh.

Interviewing the Von Bondies at the Urb/Vlaze/Eastsport Media Lounge:

Matt Goldman, of Danceright, visits the lounge for some sips and swag

My trusty shooter, Nick, takes a break from filming

The Black Ghosts spin at dusk:

Matt and me at the I Heart Comix party where I interviewed Cut Copy:

The Fluokids from France:

Body Of War show:

American Bang watching at Body Of War:

The guest of honor, Iraq war veteran Tomas Young:

Mason Jennings:

BOW producer Phil Donahue rocking out:

Serj Tankian elects the dead:

I’m now a Ben Harper fan – he was amazing:

Ben is joined by one of my favorite people, Tom Morello:

Scott Igoe from Kimmel & Shirley Halperin at the BOW show:

Billy Bragg stumps for peace:

The Nightwatchman in action. Tom Morello gave me goosebumps:

The flirty UK boys of South at their Bluhammock showcase:

I actually looked forward to time NOT being on camera:

Mingering Mike, Dori Hadar and me at the Ubiquity Records Showcase:

Dori helps Mike set up merch. If you don’t know the amazing story of Mingering Mike, you should!

My personal grail on every road trip – the floaty pen:

Sam and Ze (aka NASA: DJ Squeak E Clean and DJ Zegon) spin at the Urb showcase:

Wale warming up the crowd for GZA at the Urb showcase:

Wale from sidestage:

Food on the road included Sprite with blue and purple cubes of jello in it – I’m suspicious of that kinda fun:

This place was a post office/taxidermist/feed store/bar – but they had an 8×10 of The Donnas hung up:

Travelin’ Cat at a truck stop:

Hopefully he didn’t end up at this truck stop: