Alternative Press Magazine Throw an Arty Party for Their 25th Anniversary

The 25^th Anniversary of Alternative Press continued it’s multi city revelry on Friday in Los Angeles at the Merry Karnowsky gallery where hundreds of iconic musicians and respected rock photographers displayed their art work.

The Cleveland based magazine, who have already celebrated with a big British themed show in Las Vegas, chose an Art Show themed party in Los Angeles, to pay tribute to all of the pin-up posters and amazing art work that has been featured in the magazine since it started.

Founder Mike Shea notes that when AP planned this party, they had some specific guests in mind.

“We are the forgotten child in the magazine world. We’re thought of as a fanzine. A magazine for kids. We create it for kids. We didn’t want to throw a party that was exclusive and for a bunch of advertisers. Kids don’t care about advertisers. They care about music and they care about artwork.”

Nick Cave by Marina Chavez

Amongst the rock n roll portraits of icons such as Trent Reznor,  Robert Smith, Elliot Smith and Nick Cave,  and favorite artists such as The Yeah Yeah Yeahs, The Beastie Boys, The Dandy Warhols, Taking Back Sunday and Paramore, there was art work created by musicians themselves.

Shirley Manson of Garbage fame created a knit on canvas creation called Peking Noodle.

Peking Noodle by Shirley Manson

Adam Jones of Tool contributed a bronze sculpture and Liz McGrath of Miss Derringer’s sculpture Eyes Of Dead Ophelia was a focal point of the exhibit.

Eyes Of Dead Ophelia by Liz McGrath

Rancid’s Tim Armstrong and Shepard Fairey, who were both on hand, proudly hung their paintings and multimedia silkscreen prints in between Marilyn Manson’s eerie watercolors.

Alternative Press founders with Tim Armstrong & Shepard Fairey Photo: Chelsea Lauren

There was even some living art in the form of a Dark Crystal styled monster greeting people on their way into the exhibit. In a sea of punks, goths, cosplay dollies and music denizens, the monster blended right in.

The welcoming committee

Along the back room of the gallery was a small shrine recounting the history of AP with many of the old covers, proofs from old photo shoots, and other memorabilia on display.

Nine Inch Nails memorabilia

One case even included Dave Grohl’s laminate for the Tibetan Freedom Concert that clearly states that his access should be restricted.

Dave's pass

Looking over all the covers throughout the years, the question begged: What makes a good cover? Mike Shea pondered thoughtfully.

“I spoke to some Vogue photographers recently and they said that the trend has gone away from Photoshop and post production. A lot of magazines are doing a raw pared down look. But they tell us to keep doing what we’re doing. Our audience was raised on video games and graphics and green screen technology. It reflects the generation. The stripped down cover doesn’t work for us. They want a lot going on.”

Luckily there was a lot going on both on the walls and in the room. The event was a big success. What was represented on the brightly colored pages on the walls seemed to spring to life as the party went on well into the night.

Paul Provenza Is Tearing Apart The Fabric Of America

In honor of The Green Room’s broadcast on Showtime, I am reposting my Huffington Post article and interview with the host of The Green Room and author of Satiristas, Paul Provenza.

Paul Provenza is a thirty-year stand up veteran and actor who made the critically acclaimed documentary The Aristocrats, about the dirtiest joke ever told. Now he’s brought the filth that comedians spew to America’s bookshelves with !Satiristas!, a new book with Dan Dion’s photography, and the Showtime series The Green Room, a behind the scenes look at today’s best comedians.

Will his witty propaganda ever be stopped?
ALI MACLEAN: Who the hell do you think you are, Paul Provenza?

PAUL PROVENZA: I’m someone who nobody would hire so I had to make my own shit.

AM: And that shit was your book !Satiristas!? What is a Satirista? Is it like a Socialist?

PP: Sort of. It’s more like a fashionista.

AM: In your book and on your show, The Green Room with Paul Provenza, which is premiering on Showtime this week, you give up and coming comics, like that commie, fascist, socialist Lee Camp, a platform. So why not give new comics like Sarah Palin a chance? Even Jay Leno, who is in your book, gave her a chance. Why isn’t she in your book?

PP: You know she’s just not funny enough.

AM: So it’s all about talent? What advice would you have for someone like Sarah Palin in her budding stand up career?

PP: Sarah Palin needs to use the words ‘fuck’ and ‘cunt’ more often, and then I think she will appeal to a wider audience.

AM: Don’t you think she probably does that behind closed doors?

PP: No, she IS a fucking cunt. But she needs to use the words more in her act.

AM: Do you agree with Jay Leno who, in your book, said that being a satirist will put you out of business in the comedy world?

PP: Right. Stephen Colbert and Bill Maher and I were all talking about that and we all agree with him. Bill called to borrow a few bucks and Stephen wanted me to come get him at the airport. He didn’t have enough for cab fare.

AM: So why is Jay Leno in the book !Satiristas! when he says he doesn’t believe in satire?

PP: Because he’s someone who is on TV and does a monologue about the day’s events everyday, and makes the choice NOT to take a stand on anything. We thought that would be rather interesting in the context of everybody else. Plus we’re all hoping to get on his show. We’re really just sucking cock.

AM: Do you think he’s maybe doing a satire of a blue-collar guy?

PP: That’s a good question.

AM: Hmmm, maybe I should have cut that one. Next question.
Mike Nichols said that you can’t be Ann Coulter and be funny. How about George Bush? Karl Rove? Paul, if you had to teach them in a comedy class could you train them to do a tight five-minute spot at the Chuckle Hut?

PP: They’re more sketch performers. They’re sketch as opposed to stand up. They write these elaborate sketches like the War in Iraq and the presidential campaigns.

AM: But much like SNL, the sketches go on forever and ever. How attracted were you to Ann Coulter when you two were on Red Eye on Fox News together?

PP: I was so attracted to her. I got her number from the producers. I went home and went on Craigslist and got some black thugs and was going to invite her over.

AM: Would you change your politics if you started falling for a woman?

PP: I wouldn’t change my politics but I was so attracted to Ann Coulter that I thought that maybe I was gay.

AM: Victoria Jackson. Satirist or truth-sayer?

PP: I have no idea what the fuck Victoria Jackson is. I think she is furniture. I’m not sure.

AM: How about Dennis Miller?

PP: Dennis Miller? Next president of the United States. He will go head to head against Al Franken. Unless the third party candidate comes in and sweeps, and that would be Dane Cook. Dane Cook is essentially a one-man tea party.

AM: In your Henry Rollins interview you ask: “Shouldn’t entertainers just entertain and shut the fuck up?” So, like, why don’t you?

PP: Because they stopped serving airline food.

AM: So if our corporations could get the airlines to serve food on airplanes, then you guys would shut the fuck up and entertain again?

PP: Yeah, we’d have something to talk about again.

AM: Why do most comedians feel the need to destroy the fabric of our country that Betsy Ross and so many hard working women toiled to weave with their weaving fabric making things?

PP: Weaving fabric-making things?

AM: The olde timey machine that makes fabric. I didn’t have time to google the name of it.

PP: We’re not really tearing apart the fabric. It’s already coming apart. We’re just pulling at the threads and seeing if we can make something else happen.

AM: You shouldn’t tear apart the flags. It’s an important part of America.

PP: Well, here it’s pertinent to quote the late, great Bill Hicks, and say: “Huh, my flag was made in Korea.”

AM: We don’t actually want to make them here today. We have someone else make them.

PP: Yeah, children in a third world country. That’s how we spread democracy.

AM: Exactly. They’re lucky. Guess you’re not going to answer that question so I will ask you another one. Aren’t most comedians just products of broken homes with shitty fathers? If you just had more hugs and more Jesus, would you even BE funny?

PP: Aren’t broken homes and shitty fathers the American way?

AM: In certain states. But if you go to church you can get over it and you can become a productive member of society.

PP: I actually go to church. I know it’s hard for you to believe. It’s only because you know that Jesus on the cross? I love his smooth hairless body.

AM: This is what I’m talking about when I say you’re ripping apart the flag that Betsy Ross and her weavers worked so hard on.

PP: I’m not ripping apart the flag that Betsy Ross worked so hard on. If I had the flag that Betsy Ross worked so hard on, I wouldn’t destroy it. I’d put it up on EBay because it’s gotta be worth some serious coin. And that is the American way.

AM: That is true. That is why I’m voting for Meg Whitman. Here is a comic’s question for you. When is too soon, too soon to do a joke? Will it being too soon make you want to do the joke more? If so, what’s wrong with you?

PP: Yes. I will want to do it more. As a comedian, I’m like one of those on-the-scene reporters. I will actually go and try to find disasters so I can write jokes as the disasters unfold.

AM: You’re basically a comedic neo con. You create bad things and reap the benefits. Like Halliburton. You’re more of a Republican than I thought.

PP: There is no democrats or republicans, right or left, red state or blue state. We are all one. And we are all unified against Mexicans.

AM: Because they’re bad?

PP: We don’t want them coming here and taking their country back.

AM They’ve taken TV time slots too. Like Carlos Mencia.

PP: I am personally for open immigration but I’d like to restrict our borders specifically against Carlos Mencia. Cable TV is not protecting our borders.

AM: You’ve described your new show on Showtime, The Green Room, as comedy jazz. Most Americans don’t really get jazz, or like it. That’s why we listen to Britney Spears and country music. Care to reclassify the show?

PP: Yeah I know jazz is completely un-American. But the reason why America doesn’t like it is because it’s not funny. We’ve made jazz funny.

AM: Have you made it less ethnic?

PP: It’s less Mexican.

The Green Room with Paul Provenza airs Thursdays at 10:30 pm on Showtime

http://www.sho.com/site/greenroom/home.do

Satiristas!: Comedians, Contrarians, Raconteurs & Vulgarians
By Paul Provenza and Dan Dion
(IT Books, Hardcover)
can be found in bookstores everywhere or on Amazon

Satiristas: Comedians, Contrarians, Raconteurs & Vulgarians

Follow Ali MacLean on Twitter: www.twitter.com/aliontheair

Follow Ali MacLean on HuffPo: http://www.huffingtonpost.com/ali-maclean

Billabong’s ‘Design For Humanity’ Proves Hollywood Hipsters Have None

Thursday night, Billabong and Paramount Studios hosted the 4^th annual Design For Humanity event to raise money and awareness for Invisible Children, a non-profit that helps children and families affected by the war in Uganda.

Invisible Children exhibit

I’ve been a supporter of Invisible Children for sometime now, as when I helped begin The Voice Project, Invisible Children was a model for what we wanted to achieve. The atrocities going on there are unbelievable. Joseph Kony is currently terrorizing five countries and it’s the longest running conflict on the continent of Africa, yet no one seems to know about it.

I admit I was a bit dubious about a bikini fashion show and block party helping the cause, but with popular artists such as Fischerspooner and Kid Sister on the bill, I was hoping for a fervent crowd of people ready to pitch in and make a difference.

The New York Streets of Paramount were decked out with food trucks, step and pose red carpets, the Hit + Run t shirt silk screening stations, Carmichael art gallery auctions, live art stations and, of course a Lakers/Celtics screen so the Lakers fans could watch their team go down in flames.

Different sections had popular DJs like Classixx and Pase Rock spinning for the upwardly mobile hipster crowd who swilled drinks and noshed for the charity while they waited for the fashion show and upcoming musical performances.

live painting at Design For Humanity event

As we sat awaiting the beginning of the fashion show, a film reel began, showing the Invisible Children efforts in Uganda…only to be drowned out by a DJ playing ‘Bust A Move’ by Young MC. Now, I’m a fan of busting a move and early nineties novelty songs. Who isn’t? But shouldn’t there be an ounce of gravitas given the nature of the film being shown? No? OK, moving on.

As a whole, the event was mildly entertaining. Billabong designed for humanity, if humanity is going to start dressing like the jail bait waifs on the new 90210.

a design for humanity

Kid Sister was a little like watching your kid sister put on a show. Then, Casey Spooner led his Tharpy twitchy dancers in a revamped version of his show, Between Worlds, sans the musical albatross around his neck, “Emerge”.

Casey Spooner & Company

After, my friend and I headed to the Invisible Children exhibit set up in a store-front across from the Carmichael gallery. There patrons could see the film reel, unfettered by MCs, rappers or movers, busting. There were also photographs of the children forced to fight in the war all around the room as well as the weapons they were forced to use, on display.

children with guns

It was a sobering moment and one that makes you count your blessings.

Suddenly, out of the corner of my eye, I saw a gaggle of girls in skin tight party dresses holding the guns, gangsta style, taking sexy pictures with their Iphones. One after the other, they posed with these weapons between their legs, licking the guns, humping them. I was immediately nauseated.

Then a few other hipsters picked up the hand grenades in the exhibit and mimed lobbing them at each other in a photo op frenzy. This went on for over twenty minutes. Dozens and dozens of different disaffected creeps played paparazzi with the weapons with the giant pictures of child soldiers looming over their heads. After fighting the urge to vomit on their American Apparel onesies, I asked a few of them why they were taking these pictures.

“Well, like, everyone else was doing it, and we thought it was fun.” Said one girl who clearly knew her spirit animal was a soulless cockroach.

I understand the need to entertain people for the money they plunk down for a ticket to a charity event, for it to be ‘fun’…but feet away there is a movie showing a genocide. So maybe a PARTY isn’t the way to raise money and awareness anymore. Maybe bikinis, Young MC, and cosmo martinis isn’t the way to get the message across that shit is rough in other parts of the world. Hell, shit is rough RIGHT HERE.

The problem is, these people think nothing about plunking down $30-$150 bucks to hang out with Kid Sister on the Paramount lot and ogle girls in bikinis. They didn’t really have to do anything proactive. Hell, they can even buy the tickets from their freaking iphone. That is, if they’re not already on the guest list.

What they don’t have to do is change. Anything. Their behavior, the laws, American foreign policy, Uganda, war, or they way humans treat each other. Which was evident by the pushing at the line for the bar.

Kid Sister and hipsters

I’ve been to a lot of Hollywood charity events. I’ve even participated in some. Some raise good money and are helpful. But most of them are a bigger PR push for the DJs and club promoters/energy drink sponsors that throw them. I guarantee if you polled the guests leaving some of these events that less than half could tell you the cause they were drinking for.

So maybe instead of throwing events for charity, how about we take the money and give it DIRECTLY to the charity. Or INVEST it in helping the people who need it.

I hope this event raised a lot of money. It seemingly failed, to raise ANY awareness or consciousness. In fact, I think that it proved the average Hollywood hipster’s devolution and frankly I’m disgusted.

If you would like to learn more about, donate to or get involved with Invisible Children, please visit INVISIBLE CHILDREN

Russell Brand’s Infant Sorrow Gets To The Greek

Many Los Angeles landmarks have been immortalized in films, but I believe this is the first time that a concert venue is part of the main plot point and in the title of a movie. Yes, our beloved Greek Theater is one of the main characters in the upcoming film, ‘Get Him To The Greek’.

The story is a spin-off of sorts from the film, ‘Forgetting Sarah Marshall’, where a record company intern is hired to accompany out-of-control British rock star Aldous Snow (Brand) to a concert at the Greek Theater.

On Monday night, The Roxy hosted the film’s other star, Russell Brand, as he debuted his character, Aldous Snow’s rock band Infant Sorrow.  The ever charming Brand appeared to thunderous applause like a Manson-esque ringmaster, giving the benediction “May we all get pregnant, even those of us without a womb!”

Then as a joyous surprise to many, he introduced Carl Barat of Libertines and Dirty Pretty Things fame, who kicked off the show with some “songs about death” to fit with the Infant Sorrow theme.

Sandwiched in a booth with some gal pals and Christopher Mintz-Plasse (McLovin’ to you) with other various Judd Apatow employees and Funny Or Die denizens milling about the VIP section, I cheered Carl on as he launched into his Dirty Pretty Things hit, ‘Bang Bang You’re Dead’.

Russell resurfaced with his co-star Jonah Hill, to bring out his character’s band in the film, Infant Sorrow.  Songwriters Dan Bern and Mike Viola took over vocal duties on songs like ‘Furry Walls’, ‘I Am Jesus’, ‘We Got The Clap’ and others that sounded like they should have been on the soundtrack for the film version of Motley Crue’s ‘The Dirt”. True, the songs are supposed to be bad on purpose, yet it doesn’t work on a Spinal Tap level.  After a while I felt like I had gotten to another type of Greek -  a frat house, where the in house improv troop were performing for Spring Carnival. We get it. We get it. We get it.

Brand finally did allow the audience to hear the dulcet tones of his voice in a duet with Barat, on the song Carl wrote for the movie, “Let’s Get Fucked.”

Brand, in his self-effacing, nervous fashion, demanded lyrics on paper and hung back, only to burst forward for the second chorus and steal focus as a self admitted attention-hungry comic of his stature will. The set was rounded out with an appearance with the Grand Pooh Bah and Frat House President, Mister Apatow.  Then the super group launched into a song penned by Jarvis Cocker, who couldn’t be there because, as Russell told us, “he couldn’t be arsed”.

The song, “Just Say Yes,” is the single being promoted off the soundtrack, and for this night, (which it turns out was one long musical commercial for the film),  was one of the better songs. Cocker, with this song and his scoring of Fantastic Mister Fox, has found himself a nice new niche in pop culture. Though I’m betting I’ll like Fox better than Greek, film wise.

Don’t get me wrong, I do love me some Russell Brand. And I do laugh at some of the Apatow films. But just like during this show, midway through most of his films I just get bored and sigh and think “when are we gonna find our female Apatow to champion the funny?”

I’m not talking any Nancy Meyers “It’s Complicated” bullshit. I don’t mean chick flick, leathery Jennifer Aniston finally finds a boyfriend tripe. Or any Sex And The City 12, crap. I mean the type of comedy that Liz Phair would want to see. Something funny, something raunchy, something smart…something for me.

Do I have to do everything myself?

If you want to Get To The Greek, the film opens June 4th. The soundtrack is available June 1^st from Republic Records.

Foreigner Plays For The Beautiful People – Checkitnsee

With an onslaught of press releases and invites, I have the humble luck of being highly selective with my night time activities. That being said, I can seem to be quite the jaded gal, a retired hipster – party girl, interrupted.

How many open bar/energy drink special/free t shirt/ipod dj events can one succumb to until you slowly numb out and freeze to death right in the middle of Cauhenga Boulevard? My Facebook event inbox tips well over into the hundreds which I barely read any more. I’m not showing off…I’m just protesting the glut of white noise.

Sometimes it takes something extra to motivate me to cover an event, find an angle, do the interview, write the article, put on the push up bra…unless it’s free champagne and FOREIGNER. Stop the presses.

I do love my indie rock. I appreciate the singer songwriters. I love my atmospheric sweeping geniused gems. I love my dirty bluesy garage rock. I love punk ditties. BUT, classic rock and hair metal will stop me in my tracks. I’ll admit it. When I am in my car, I’m a radio flipper. I don’t use the ipod. I scan…and I find myself bored a lot with the new music stations. I often keep going back to the classic rock of KLOS. Perhaps I’m becoming an old curmudgeon. Perhaps I am just in a Zep phase…but I just want to be comforted by people who wrote their own songs, who play their own guitars, who seduce you with a solo, and who never used auto tune, even if they can’t quite hit those high notes.

I love some of these KLOS bands, not in an ironic way. Def Leppard? It’s no Mysteria why. Scorpions? What’s wrong with a night of sin? Foreigner? I’m not shy (and I used to get around).

Most of the people attending the I Heart Ronson/JC Penny event last night were there to toast Charlotte Ronson’s t shirt line for the huge department chain, or flaunt their fashionista wares, or gawk and stare at the fabulous kids who sell People Magazine.

I went to see Foreigner. Not ironically.

Mick Jones of Foreigner is the step father of designer Charlotte, music producer/scenester Mark Ronson who DJed, and DJ/scenester Samantha Ronson who, ahem, sang an opening set.

Moving through an acoustic set of hits like Double Vision, Dirty White Boy, and I Want To Know What Love Is, Foreigner then debuted a new song that Micks’ step son Mark produced. The band then ended with a spirited rendition of Hot Blooded, which even the teenage models and disaffected reality celebutantes, seemed to recognize. Maybe because it’s the anthem of making it ok to be a groupie?

Many of the well dressed lookliloos stayed on hand to sample the over abundance of free junk food and open bar cocktails and to hear Samantha spin, but with Foreigner leaving the stage, my interest plummeted.

It’s about the music.

The Good, The Bad, and The Courtney – A Mini Review of SXSW

This year, South By Southwest was even more of a business trip for me. Not a search and destroy mission of boys, bands, and booze as it was for a lot of my friends. I had notes and cards, I had a freaking power point presentation…would I find the time to enjoy some aural pleasure?

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?

South By Skulldiggery – Band of Skulls Continue To Conquer The US

SxSw was a (not so hot) mess. If you combined the party hounds from the Super Bowl, Mardi Gras and Spring Break and confined them to a six block radius…and then tried to add some showcasing bands to the mix, you get a pretty good idea of the mayhem.

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:

Working the Press – Intellectuall Intercourse and Interviews at SxSw

I’m about to keep Austin a little bit weirder as most of the music community lends a helping hand to do every March…

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

The Hounds Below – Bringing The Class & Style Of The 60s To Modern Rock

Blame it on the Mad Men if you want, but all of a sudden class and style are coming back into vogue in music. With acts like Mayer Hawthorne, Fitz and The Tantrums and Sharon Jones And The Dap Kings bringing 60′s soul back into the groove, it’s high time that the dudes of 90026 pack away the neon nikes and tank tops and put on a fucking shirt before they pick up their dates.

Fitz And The Tantrums

I don’t think I’m alone when I say I ache for songs with style and romance and panache. Sure, I love to dance to some synthy piece of candy floss every now and then, but when I go back to my vinyl collection…when I have an actual visceral connection to a piece of music, I’m usually not thinking of waving a glow stick in the air when I’m hearing it.

I’m not saying all music has to be as classy as the sounds that came from the Brill Building.

But tricks are for kids (and MGMT, apparently) and those who hang around in what looks like their pajamas, are seriously being shown up by the style and grace of the new crop of crooners we have coming up.

When Findlay Brown saunters onstage in a sharp suit and sings heartfelt love songs, the only thing the thing the dirty hipster  to my left is gonna be pulling that evening is the un-tied laces on his dunks.

Findlay Brown

It’s very subtle, the power of suggestion. Just a phrase, a stride, a note, it can all really color your view, your mood, your opinion. That’s what music does. For instance, Findlay’s songs give off the air of a scotch and soda…or something in a high ball glass. You get the feeling that your going to be taken out and treated well. The white wall tires have been armoralled and that a steakhouse is involved. There’s a commitment there. There’s an intention. There’s thought and feeling and carbonation.

The other guy? Red bull and vodka guy? I’d probably end up having to take a cab home after he puked on my shoes.

Class. It works.

Enter The Hounds Below. A new outfit headed by Von Bondies frontman Jason Stollsteimer, the young, good looking band is another throwback to roadhouse rock and roll with Roy Orbison warbles.

The Hounds Below

At first it might seem strange that Mister VB would choose this as his next musical adventure, but if you think of his vocal quality and then think of Orbison in ‘Crying’, added with Stollsteimer’s Detroit Rock City roots, it makes perfect fucking sense.

A quick moving set at Spaceland last night, only their 16th live show ever, showed enormous promise.

In Silverlake, the land of apathy and uber cool, The Hounds had people toe tapping, twisting and dare I say, jitterbugging.You have no idea how much this means. I don’t think Jason realizes how much this meant. In other parts of the country, when a band plays good music, I’m pretty sure the people in the audience dance. In industry laden, hipster haunts in LA, it isn’t often so. To see what might of been a lindy hop (?) styled couples dance going on tickled me and I felt the need to explain this to the band. “You are making an impact. You are warming the cockles. Cockles are being warmed. Encore!”

I tried to beam a Blue Velvet styled Bat signal out to David Lynch, who seems comfortable doing the weather report currently, but when he gets a hold of this EP, he will undoubtedly be inspired to write and direct another twisted highway tale of love and immorality. I think he has his bar band cast.

Two cool and unexpected covers layered into the set were a lilting Wall Of Sound styled version of the Pixies ‘Where Is My Mind’ and The Animals’ hit ‘We Gotta Get Out Of This Place’.

Stand out tracks to get you in the righteous twangy mood such as ‘Crawling Back To You” and the stomper  ‘She’s Alchemy’ can be found on their Myspace site.

I highly recommend taking in their set. It will take you back to another era, one where the boys dance with the girls and people say what they mean and mean what they say.

Okay, maybe that does sound like an alternate universe. Someone put a call into David Lynch.

The Hounds Below are currently opening for Black Rebel Motorcycle Club and will be showcasing at SXSW. For dates, visit:

http://www.myspace.com/thehoundsbelow

Serato Is Not A Pasta – DJ Intervention Starts Now

I’ve written many times before about the difference between a legit DJ and the hobbyists who like the idea of having their playlist heard on a Friday night for a little cash in their pocket.

If it’s true that ‘Anyone Can Play Guitar’ then it’s even more true that anyone can DJ, especially when you can download Serato for free…but forget beat matching. That rarely even enters into the equation anymore. In today’s club scene a dilettante can get paid four or five thousand dollars and show up with their i pod just because they fucked someone famous and the promoter thinks thats cool and bitchin and shit.

OK, the novelty of seeing the cast of Gossip Girl fumble around with a mixer might be an initial draw but then what? I’ll tell you what. If it’s a nightclub with a dance floor, the real DJ has to come in and save their ass and make sure there’s actual music playing.

Now, not all venues have to have banging house tunes. Many bars and clubs these days want a lo fi, bring-your-own-stuff-to-spin atmosphere, and that’s cool. But the difference is: no one is being paid obnoxious amounts of money for something they downloaded off itunes a few hours before.

I’ve been hired to spin at certain clubs around Los Angeles, mainly because I know music. I’ve been asked to spin records (yes, I use vinyl) in between bands performing at venues…and even though I have been on air at a few different radio stations, I don’t really consider myself a working DJ. On air personality? Yes. A DJ? Not really.

Do I love to search for records? Sure. I like to go to Counterpoint and flea markets. I’ll drag boyfriends and family members to vintage shops and dusty record bins while on vacation until they beg me to stop. However, I don’t make special crate digging trips to Japan or Israel or Brazil like Pete Rock or Cut Chemist do, for the SOLE PURPOSE of collecting rare records. That is LOVE of the craft. That is why those guys should be hired to do the job.

Pete Rock crate digging for vinyl gold

And then some dick promoter is going to pay Peaches Geldof a shit ton of money to “DJ” their party?

When I see the amount of hard work someone like DJ Z Trip or Rhettmatic has put into their careers, only to see some trust fund kid with a chip on his shoulder and a personal paparazzo by his side, breeze by and get flown all over the world for 5 and 6 figure gigs…when I’ve seen that same trust fund fucker literally plug his i pod in at a venue and then walk away from the DJ booth to pose for pictures and pound drinks…it infuriates me for the hard working DJs out there.

Z Trip's first love

I’m not saying that not every celebrity sucks at DJing. Carlos D from Interpol has been DJing for years and only uses vinyl. It seems to me he has a real love for it and puts a lot of time and energy into it. Therein lies the difference. Are you in it because you love it? Or are you doing it for the photo op? Cause most of us can tell, you know.

Club owners: Stop paying good money for shitty product. You want the cast of Twilight to DJ your party? Fine. Don’t pay them. They’re not DJs. Give them a bottle of Grey Goose and set them up in a booth in the corner. You can take a photo of them standing near the DJ booth for the starfucker page on your website and leave the DJing to someone with chops.

Festival bookers: Really? Six figures for a DJ who’s crap?  We’re not that high. Stop it.

Last fall, after another night where Z Trip had to follow another “DJ” train wreck, he took to twitter and ranted which I have to admit, I egged on and on. Our tweets ultimately gave me the idea for this film…this is part one of an ongoing series of DJ INTERVENTION.

If you like it, pass it on to all of your friends who may need some help. We know you’re out there and we want you to get the help you deserve…

Or you can vote for it here on Funny Or Die:

DJ Intervention, Part 1 – watch more funny videos

Part Two to come soon!!