Cheeseburger, well done.

I don’t eat red meat. But I sure do love me some Cheeseburger. So when I got word that the boys from Brooklyn were coming to town on the Tales of Colt 45 tour, I decided I’d definitely brave the tidal wave of douchebaggery to see some great cock rock.

Now, it’s hard to get me out to shows these days. Especially when a simple gig is overloaded with distractions meant to pull scenesters in. Professional studio photography, ice cream trucks, do it yourself silk screening, grafitti artists…free crack…if the music was actually good, would the clubs need all this excess shit to lure in the jaded Hollywannabes? Or is the pure love of music an outdated quality?

Colt 45 and Vice magazine were banking on the former with this night. one of the many ‘lifestyle’ extravaganzas which litters the LA scene these days. King King was packed when I arrived, and people were swaying, yelling, spitting and fighting. The free 40 ouncers were like the proverbial stick rattling the tiger cage at the zoo. The only thing left to light this powder keg would be a set of searing party rock.

Enter Cheeseburger.

The first thing I asked when I found the band in the crazed crowd, was if their guitarist had been tested. Last time they played in LA, Eric bled all over the stage at an alarming rate. I don’t begrudge an axe man with diseases, but I just had to be sure.

The band assured me that while he may be disease riddled, the calluses he built up would prevent him from bleeding on me during the show. So that takes care of me during the show…I didn’t go into what would protect me afterwards.

Joe, Luke, Eric and Christy, shuffled single file into their “green room” and closed the door so we could get some quiet. Closing the door seemed to make it louder in their actually, the door being less like a piece of paper and more like a noise sponge.

None of them were thrilled to be interviewed, even by an old friend, except for Christy who began snapping pictures and video of me to commemorate the precious moment.

AOTA: What’s the matter? We had fun on Little Radio last year.

JOE: Yeah but we were drunk. You gave us a keg of Heinken.

AOTA: Yes, true. We did roll out a party for you. But you have free Colt 45 – the sponsor of your mini tour. And I’m sure Vice would spring for a few drinks too.

JOE: I actually hate both of those products. I find them distasteful.

Joe scowled and took a swing off a Bud light. Christy stopped taking my picture long enough to survey the energy in the club.

CHRISTY: I feel hostility. I don’t know what it is, but it seems very hostile in this place.

AOTA: You’re in Los Angeles. And you’re in a room of people liquored up on Colt 45 which is slightly less like crack than Sparks, but not by much. But rumor has it that it’s been used as a form of chlorofyl in several kidnappings…

JOE: Colt 45 is for homeless people and college students.

Another long swig of Bud light.

AOTA: What do you have against the homeless? And didn’t you like college?

CHRISTY: College is supposed to be the best time of your life.

AOTA: Was it yours?

CHRISTY: No. I was depressed and lonely in college.

Christy lamented. Pause. Christy snapped another picture. I put my hand up to keep from being blinded by his flash.

AOTA: So when did that change?

CHRISTY: When I got successful and joined Cheeseburger!

Christy yelled this with a passion I haven’t seen from anyone on either of the coasts for a long time.
And I believed him. If you were in a band like Cheeseburger, whose main raison d’etre was to goad people into partying their asses off, wouldn’t you consider it a Cheeseburger job, well done?

Seeing as the guys have had triumph in placement lately, I asked how they felt being featured in Grand Theft Auto IV.

AOTA: Nothing like hearing the song “Cocaine” while you beat the crap out of someone you drag out of their car, yeah?

JOE: I’ve never seen it or played it. I don’t like playing games.

AOTA: You never played a video game? Even when you were a kid?

JOE: I played Q bert.

CHRISTY: Q bert is psychadelic!

Christy added this fact with an air guitar riff played on his beer bottle.

JOE: Cheeseburger is against violence. Enough is enough!

CHRISTY: Yeah! How much quote, violent bullshit, unquote, will we put up with? Make sure you put that part in quotes. And then tell them to ‘Google that’!

Not wanting my article to be a platform for their subversive propaganda, I quickly changed the subject.

AOTA: So, you guys have a song placed in the Will Ferrell movie, Stepbrothers.

I was met with half assed nods and grumbles.

AOTA: Did you see it?

A chorus of no, until Eric sheepishly nodded.

ERIC: I saw it.

AOTA: And? How was it?

ERIC: Uh, hmmm, it was…not good.

The others jeered at him. I think I heard a “duh” form somewhere in the room.

AOTA: Sooo, you don’t drink Colt 45 or read Vice. You don’t play Grand Theft Auto and most of you, except the bleeder over here, wont go see the movie your music is in…so I guess my question is, with all these sponsors that you will work with or take money from – is there anyone you won’t work with?

JOE: Twinkies and marines.

CHRISTY: I’ll work with anyone.

JOE: And Cabbage Patch Kids.

CHRISTY: Wait, you don’t like Xavier Roberts?

Joe shook his head disgusted and stood up and walked away from us.

CHRISTY: Make sure you write that he left the interview at this point.

AOTA: Oh, duly noted.

CHRISTY: I heard about this guy in Europe who opened an orphanage for toy baby dolls. You have to go through adoption interviews and everything. But it’s for a doll.

AOTA: For a doll? Who would do that?

CHRISTY: It’s really popular.

AOTA: Is this something Brad and Angie are contemplating? Have we run out of real children? Is this the only choice left if I wanted to get a baby?

CHRISTY: You could go fuck a homeless guy.

AOTA: Oh, been there. Most of my boyfriends were homeless when I met them.

Then I had to pause and actually think about the fact that someone had suggested I go fuck a homeless man. Over fucking anyone who was in the club that night. That’s how bad the crowd looked, people. One point for homeless men, zero for faded hipsters in capes. Seriously. One guy was wearing a rainbow towel as a cape.

Joe wandered back into our discussion.

JOE: OK, is this done? Anything else? Do you have a serious question?

AOTA: How do you feel about the Village Voice describing your music as ‘crunk punk’?

JOE: Crunk Punk? I don’t even know what that is. That’s not a hard hitting, serious question. Those guys are corporate shills. They have no idea what they’re talking about. They’re a bunch of Oberlin College, left wing, homosexual, shit eating—

CHRISTY: I just realized I have drink tickets!

Christy began pulling wads of red tickets out of his pockets.

JOE: Man, I paid for this beer! Give me those.

CHRISTY: Do I get a serious question?

AOTA: OK, what do you think will help the situation in Darfur.

JOE: You ask me about crunk punk and he gets Darfur?

AOTA: Feel free to answer if you have an opinion, Joe.

CHRISTY: I don’t think out government gives a shit about Darfur, so nothing will happen.

JOE: C’mon give me a serious question.

AOTA; OK. You have a new song called Jellybean. What’s your favorite flavor jellybean?

Joe rolled his eyes at me hard.

JOE: Purple.

CHRISTY: Purple is pussy vagina lips flavor!

JOE: And he gets the Darfur question.

AOTA: Ok, ok. A serious question for you. How can America get out of this recession?

Joe paused a second and looked thoughtful.

JOE: It doesn’t matter. It’s all just…just write ‘it doesn’t matter’. Christy you have those drink tickets?

The guys scrambled away from the couch and out of the green room as if the bell had rung on the last day of school. Luke paused at the door.

LUKE: You coming?

Oh yes. I wouldn’t miss the main event. Not for all the towel caped hipsters in Hollywood.

As Cheeseburger took the stage I looked around, noticing that the mass had thinned out considerably. I ambled over to the bar but before I could even order a gingerale, the bartender barked at me that there was no more free Colt. That explains the personal space around me in the club. Most of the little crack whores were on to their next hyphy crunk party to be seen and scened.

But don’t worry. Cheeseburger didn’t arrive with a pocket full of cock rock for nothing. As if transformed by some combination of electric guitar and malt liquor, these creatures from the valley appeared, dressed as if it were still 1988. Not the ironic fashions mind you. These were the authentic Sunset Strip customers that kept people like Vince Neil decked out in rhinestones for years.

As Joe postured and growled his way through the set, these creatures became bolder, rushing the stage and trying to grab the mic from Joe’s sweaty paws. One woman, old enough to have given birth to almost everyone there, kept gyrating on top of the monitor and throwing herself at the mic stand repeatedly. No amount of security could restrain her, and soon the beefy dudes just gave up.

Now, I do love cheeseburger, but I have yet to see any AARP aged women throw themselves at them as if they were at a Bon Jovi concert. Was it the Colt? Or the crushing guitars and pounding drums?

I’d like to think it was the latter. Hopefully the next party Cheeseberger plays will be Colt free. I’d hate for everyone to think they were having fun just because they were really fucked up. In fact, I challenge Cheeseburger to play an aclohol free joint for their next gig. I guarantee everyone will have just as much fun. Cheeseburger is sonic crack – a raging party in every song. And just maybe you’ll get some purple jellybeans.

DJs and Turntablism – are hipsters and laptops killing the art form?

Hey Mr. DJ, put a record on…no really. I mean a fucking record. you know, those vinyl thingies that old timey people used to play?

While having dinner with Ian last night, the topic of dj culture came up. The electro, hose, nu-rave scene has burst like a serato pinata here in LA, and in NYC as well. Now, I’m always a champion for new music and creative outlets…but it seems to me there is a glut in the market. It’s like that Jack Black joke in the Tenacious D pilot, about aspiring musicians… (paraphrasing) “if you suck, and we ask you to stop, you must stop!” Lately I can’t walk into a bar without screaming FOR THE LOVE OF KRISHNA, PUT THE I POD DOWN!

It seems that with the nightly dance parties in heavy supply, anyone, and I do mean anyone, with a laptop and i tunes is now a DJ. So where does that leave the DJs who have been doing it for years? What does it mean to be a DJ? Is it style? Are you a DJ if you can scratch? Is it substance? Does being a DJ constitute having a good selection and crate digging your heart out? Or can you get by if you get the crowd to dance by playing Thriller and Justice off your Nano? And is it any great feat to get a bunch of kids cracked out on Sparks to sway and slam to a beat? Ugh.

Does a good music producer make for the best DJ? Or is it shiny stickers spelling out your name on the back of your laptop? I’m an on air radio DJ and I spin at some of the local clubs, in between bands. I spin mostly rock and punk, so I don’t get asked to be on the hipster club bills. Does this make me less of a DJ? OK, don’t answer that last question.

Ian mentioned that some of these club promoters/indie label owners/hipsters in American Apparel DJs, have their own booking agent. And big time bookers too. What makes someone pay thousands of dollars to have a specific DJ flown in for a party? Is it name recognition? Does a lot of website party photo ops constitute recognition? Or do you need to be seen walking the red carpet with the Good Charlotte boys? And why do some of these hipster dj duos think that they’re famous?

One unnamed duo, who have recently gotten a bit of local hype, claim that their fame is wearing on them. Heavy is the head that wears the black leather fedora. Woe is the electro boy in a Members Only jacket. Too much fame! How do they get up everyday and lace their free Puma kicks? Now I’m sure you couldn’t pick them out of a line up. Nor are they gracing the covers of any magazines. In fact, if you took them out of the insular LA/NYC scene, no one would know who they are. But they behave that their lazy re-mixes are an art form so great that they should be given the VIP treatment wherever they go. I smile as I wonder how long these ‘famous’ guys would last in a spin off versus someone like Pete Rock.

Which begs the question: Is DJing an art form? What does it take to make something art? By playing someone else’s music, are you then too a musician? How much do you have to change a piece of music to make it your own? How many seconds of a sample can you use in order to patchwork together a song? Is cutting together a track of samples any less artful than editing sound of instruments being played in a studio?

In my moonlighting as a clothing designer for Rock-N-Role, I take vintage cast offs, de-construct them and make them into something new. I consider that designing, but I’m sure the people at Parsons would consider it cheating or whatnot. One of my favorite artists, Banksy, often takes pre-existing works and adds his own cheeky flair. Is that not real art?

If you’re a DJ with your own album out, ala Junkie XL, or Cut Chemist, does that set you apart from the popular kids who speed up a Justice track and call it a new mix? Where does the line get drawn? I believe that the great Steinski is an artist the way he blends together bits and pieces of old movie quotes, Zapruder film audio and beats…but he can’t legally sell The Lessons. So sales and charting can’t be the only measure of a man (or woman).

Someone like Shadow, who can keep a crowd going and has a flair for ‘spinning plates’, certainly earns the respect and worship of many…but is his art form cheapened by an up and comer serato spinner in a hyphy crunk hoodie and neon wayfarers? Or is there room for both?

A lot of the old school dj/turntablists that I’ve interviewed are very careful not to slam serato. “It means I don’t have to carry 80 pounds worth of records on the airplane with me.” said one. But they do say that you can’t polish a turd; meaning if you kill on the decks with 45s, then you’ll be great with serato. If you don’t know what you’re doing, you will still suck. Technology can sink or swim you.

I personally give more respect to the record collectors, or ‘vinyl trekkies’ as Kid Koala calls them. Spending hours and hours at odd hours, digging through dusty crates connotes a certain commitment to the craft, as well as an obvious love for music and sense of musical history. But is any of that important when faced with 200 electro/emo hispters who ‘just wanna dance’? What do you play to those kids…what you like or what they want to hear? And whatever happened to street cred?

I’m just playing hipster’s advocate here, trying to get a discussion going…

…but it seems to me that a lot of these new DJs are in it for fashion…or perhaps because it pays better than working at Urban Outfitters and the hours and drugs are the perks they’re looking for. How many of the new DJS consider what they’re doing an actual craft or career, and how many are just in it to be pimped by Scion or Nylon. If we could send a camera crew to each of their homes, would we find them listening to music in their off hours? I mean really listening to music. Pushing their boundaries and searching for the next sample that will blow our minds.

Speaking of blowing minds, I couldn’t discuss the tables without including this from Kid Koala…he plays a record like it were a violin. And he spins without headphones! If this is an art form, Koala is masterful: