FORGOTTEN CONTRABAND

Music and the live music experience is a collective experience shared by the band, the fans, and the venue. When the integrity of one of these three pillars is compromised, the whole experience is cheapened. When this happens, it gives the whole industry a bad reputation and affects the quality of the entertainment and fans’ experiences. As a lover and supporter of live local music, I was outraged and disappointed by an incident at House of Blues this past weekend.

On the evening of Friday, October 11, I bought a ticket to see the Disco Biscuits at House of Blues. Upon reaching the security guards at the front of the line, I was searched, (which unfortunately we have all come to expect and tolerate as part of the live music experience). The security guard found some forgotten contraband in my pocket, which he asked me to surrender to them. Rather than trying to enter the club with a contraband object or leave any of my possessions at the door, I told the guard that I would go put the object in question back in my car and return.

When I returned to the front of the club, the security guard on the sidewalk told me that I was not allowed to enter. Upon questioning the reason, one of the guards yelled from down the alley that “that bitch” isn’t allowed in. I approached the guards and explained that I had nothing on me and questioned why I wasn’t allowed in. They told me that if I had just been “cool” and given them (i.e. shared with them) what I had, then there would have been no problem. So, rather then trying to keep a clean, safe club, the security guards are merely shaking down everyone who enters, taking drugs from those who have them and turning away anyone who does not hand over their stash. I did the right thing by getting rid of the object in question and trying to enter the club clean and since the security guards didn’t benefit personally, they wouldn’t let me in.

I was extremely disappointed in the unprofessional behavior of the security guards, both in their manner of speech and their actions. I was disappointed that I could not see the show, which, as a fan, I had long anticipated. The manner in which the security guards acted was in the interest of their own personal gain, not in the interest of the club, the band, or the fans.

—Jennette Ginsburg, New Orleans, LA

 

HORRIBLE DISEASE

The best part about Bunny Matthews’ interview with DJ Davis in last month’s issue [October 2002] is that Davis acknowledges the fact that a lot of people can’t stand him. I believe this may be the first step on the road to recovery from the horrible disease know as Egomania.

—Kelly Lafleur, New Orleans, LA

 

LONGHAIR VS. HITLER?

Perhaps I should be flattered that you responded to my letter. More than flattered I’m amazed. Surely you are not comparing Professor Longhair to Adolph Hitler?

The reason it is tacky to write negatively about a deceased person is because that person is unable to defend themselves. Do you honestly believe Hitler could defend or rationalize his behavior?

If you’re not a music critic why are you writing about Professor Longhair? If you are a music critic why are you writing about Adolph Hitler?

—Minta Bowers, San Ramon, CA

 

I think it’s called multitasking.—Bunny Matthews

 

HALF WOMEN

Wouldn’t it have made more sense to give press to the Will Ainsworth benefit before it happened? The night was a fantastic success anyway and as they say any press is good press. The review of the benefit brought more attention to Will, so that’s good.

What’s not good about the review is that at least half the featured artists that night were women and “Blues Hound” John Swenson didn’t mention even one of them. Drummer Cori Walters and bassist Cassandra Ankrum were throwing it down as the rhythm section on several sets that night. I’m still hearing about Cori’s stellar performance on Walter Wolfman’s set. Violinist extraordinaire Nancy Buchan played on several sets as well as organized the event. Charmaine Neville, Leslie Smith, Irene Sage, Denise Marie and Paula Rangell all gave flawless, beautiful performances which were confirmed by the screaming cheers of the packed house. All of these women are successful, professional musicians with careers here and abroad.

I don’t know what Mr. Swenson’s reason is for overlooking the female performers but if it’s just a matter of blatant prejudice then that’s a shame. I’d like to hear the reason.

—Denise Marie Moser, New Orleans, LA

 

Dear Denise: Scores upon scores of musicians performed that night. I had no idea who many of them were. I identified those I recognized among those I heard, because I was not there for the whole performance. Few who attended were there the whole night. If you asked Nancy Buchan, I’m sure she took no offense. She might tell also you I have written about her marvelous playing elsewhere in this magazine, but I guess you weren’t paying attention then. Should I take offense to that? Do you only read the articles I write that specifically mention your friends in the headline? Saying that I ignored musicians because they were women is akin to saying I ignored musicians because they were Asian, or Buddists, or Republicans (well, you might have that last one right). Thanks for reading.—John Swenson

 

MOUTH WATERING

I subscribe to OffBeat and enjoy it very much, hell, they make my mouth water. I lent out my July issue with the Dirty Dozen Brass Band on the cover and haven’t been able to get it back, go figure. Anyway, I need another copy FAST, they (DDBB) are coming to Minneapolis next week on the 16 of November and I’d like to get them to sign it.

Will I always be a year ahead on my subscription and a year behind on the CDs? I want all the CDs, I have the 2000 and 2001, are there other’s? How may I obtain them? I love ’em, keep up the good work.

—Stephen Davidson, Roseville MN

 

OffBeat has been producing unique Louisiana compilations since 1996. They are not sold and only available to paid subscribers. In general, you are correct: you receive one CD per year and it is usually, depending on time of year and availability, the previous year’s CD.—Ed.

 

SO GOOFY

Thanks for the revealing and insightful interview [by Bunny Matthews] of me in OffBeat. I did not realize I was so goofy. Can we do it over?

No, seriously, that is the most of my words (accurately quoted) I’ve ever seen in print. I feel exposed and apprehensive. It was fun. I’d do it again. Thanks!

—David Rhoden, New Orleans, LA