IT’S TOO LATE, PART TWO

I’m writing to address a few interesting points that have come to mind recently, whether jogged from personal experience or from reading your fine magazine. I feel compelled to address your readership as a means of turning frustration into possible action.

The first reason for penning this treatise on the state of local music (particularly rock ‘n’ roll) was a call for thoughts on matinee shows. I have long stated that clubs in New Orleans are missing a golden opportunity to increase their revenues by not having “Happy Hour” and /or late evening shows. I know that my friends, most of who are in the desirable 30s demographic, would attend a show at this time on a weeknight. Confucius say: the club owner who is wise will have shows starting at 7 p.m., Monday through Thursday night. My suggestion is to conduct a poll of music lovers, either online, or better yet, at the actual live music venues. My guess is you’ll get enough of a response from folks to give it a go.

Next, I’d like to plead for New Orleans to respect the efforts of unsigned, original local rock talent. Many of the folks who play in this genre have been doing so for upwards of 20 years, with little or no exposure to the kinds of crowds that would pack houses. A prime example was the last Voodoo Music Experience. While the promoters should be applauded for bringing a top-notch event to the Crescent City, it is sad that the already exposed bands of the “roots music scene” got even more pie. Marva Wright and Tool work together like a soup sandwich. I’m not disrespecting the talent that exists in other genres in the New Orleans scene; the talent in this city is immeasurable. My only contention is that we have always had a high quality rock scene, and, because of our city’s link to jazz, R&B, funk, and other roots music styles, the rock stuff takes the back burner. When we [Veloka] play places like Austin, Texas, Athens, Georgia, and even, Baton Rouge, we get the feeling that rock ‘n’ roll is still alive. Let’s keep it alive in the place where it was born.

I ask New Orleanians to consider these, my favorite local bands, as they plan their musical outings—the Violet Era, Amerigo, Veloka, Mexico 1910, the Supercarters, the Peccadilloes, Electrical Spectacle, Hotstream, Liquidrone, RF7, Daydreams & Curry … I could go on and on. You should go on and on. Support local rock and let your thoughts be heard on the earlier shows issue.

—Elzy Lindsey, New Orleans, LA

In response to your December 2001 request for comments about late starting times at New Orleans music venues, I offer the following:

My wife and I have visited New Orleans probably a dozen times, often during Jazz Fest. There are many reasons we visit New Orleans, but music is number one. I have probably 100 Louisiana music CDs. We are both in our late 40s.

Late starts make a little more sense after a day at the Fair Grounds, but we were just visiting New Orleans December 5-11. As a visitor, we do not have to get up in the morning to go to work, but we do like to get up in the morning, whether to enjoy the other attractions New Orleans has to offer or just because at our age we get up in the morning! More importantly, perhaps, what are we supposed to do until 10:30 p.m. when the music is scheduled to start. We don’t go out to a late dinner every night—not after overeating at lunch and stocking up on oysters at happy hour! At times, I can still stay up all night partyin’, so late playing is not always the problem. We have trouble sitting around the hotel room or whatever waiting for the show to begin. Too many times, we end up not even going.

Even worse, the show may not begin even at 10:30. We wanted to see Michael Ray on December 8 so we ventured to the Dragon Den but were informed at 10:30 that “realistically, it would be another 45 minutes.” In the old days, I just would have kept drinking beer perhaps, but I try not to use that old standby for killing time as much as I used to!

We went to Tipitina’s December 7 to see Alvin Youngblood Hart and Tab Benoit. Again, we hung around the hotel “resting” for the 10:30 start. Hart got going not too much after that and was well worth it, but it was well after midnight before Tab started. We stayed for a few songs but one of us was getting a little tired by then! The club was not filling up as we were leaving either.

Whatever the reasons are, I do not think the late starts work for Louisiana music tourists either. Some clubs should take the late night crowd, others earlier in the evening. Some venue ought to be putting out top notch music in the afternoon!

—Jay Sieleman, Waterloo IA

I agree with R. Dusk Lipton: I want earlier shows in New Orleans. I was recently in town for a two-day business meeting and wanted to catch a show or two. However, because of late show starting times, I had to forgo the pleasure (and keep the money I would have spent) in favor of being alert for my meetings.

Snug’s has got it right with their “early” 9 p.m. show. I hope the other clubs listen up.

—Linda Keenan, Adelphi, MD

Although I only make it to the Big Easy twice a year, I’d definitely like earlier shows! I just turned the BIG 50 this year and am proud of myself for getting my buns out the door to hear live music usually three to four times a month—AND on work days! (And it seems I do this more frequently than people much younger than me, but then, music is a passion of mine.)

Club owners/musicians keep complaining about people coming out to see them. Well, hell—the ole gray mare ain’t what she used to be—so why not try and accommodate us by at least pushing the shows up an hour or so.

I live only 20 minutes from Washington, D.C. The Maryland/D.C./Virginia area never has a shortage for “big name” talent coming through and LOTS of local talent, so I’m never at a loss to hear good music.

LOVE getting your magazine each month. Happy ho ho to y’all.

—Diane Stalter, Silver Spring, MD

Thanks for asking my opinion. Earlier shows might be nice, especially on weekdays. If not earlier, acts could at least start at the announced time, or reasonably close. I’m 51 (but I still love the night life).

OffBeat sustains me between my yearly pilgrimage to the Crescent City, thanks.

—Bill Powell, Fairbanks, AK

I’m a performing musician, and when I’m not gigging I’m part of the audience. Yes, yes to earlier start times. Or how about this: On a recent trip to LA, I went to a show that had the headline act start first at 8 p.m., followed by the backup acts. What a concept.

—Bill Jenko, Winston-Salem, NC

Earlier show times would definitely be appreciated. I’ve been to New Orleans twice & many times missed shows because they started to late. I think the best time slot is dinner or after dinner, say 8 or 9. That way you catch people who are already out having dinner instead of having them go back to their room or somewhere else. Also wanted to give you some feedback on your magazine.

I look forward to receiving OffBeat every month and keeping up on events in a city I love visiting. There was however one article I didn’t like by Bunny Matthews where he talks about tourists buying hot sauce to drink back home to remind them of New Orleans etc….

I was planning another trip to New Orleans but after reading this article I felt like a pesky unwanted tourist. I went to Mexico instead (where they don’t mind pesky tourists.) I understand that tourists can be a pain. I live in San Diego where we get more than our share. Nevertheless I’m always happy to welcome visitors and extend hospitality.

I love New Orleans and 99% of the time have been made to feel very welcome when visiting. Really though I never drink hot sauce or go around with a camera around my neck like the tourists in your cartoons.

—Alice Engelsman, (age 45) San Diego, CA

A COLLABORATIVE OF INTERESTS

I would like to thank you for sponsoring the recent mayoral forum. The next mayor must lead the effort to reach the economic potential of the music industry and your forum pointed us in the right direction.

Local musicians have great concern about the effectiveness and fairness of the Music Commission. As mayor, I pledge that the commission members will be representative of the entire community and finely attuned to the needs and goals of the industry. The executive director will have no real or perceived conflicts of interest.

We need to be a collaborative of interests. The City must work with the State of Louisiana, MetroVision, the universities, hospitality industry, club owners and others to achieve mutual goals. We need to identify grants, gap financing, seed capital and other financial assistance avenues at the state, federal and foundation levels. Musicians need a place to come for advice and education opportunities that the city alone cannot fully provide. I promise an inclusive strategy to build the music industry.

I will advocate for improved music instruction in our schools and will lead by example by including musicians and school bands in city functions. I will lobby for increased state support for NOCCA and encourage business people and the promoters of special events (Superbowl, Essence Festival, etc.) to assist our school bands.

Your forum identified many other development activities, and I am anxious to become part of the solution to unleashing the full potential of New Orleans music industry.

—Richard Pennington, New Orleans, LA

DISMAYED

I was dismayed to open my [“Best of the Beat”] ballot and see that the Rob Wagner Trio CD was not included in your list of best jazz albums by a Louisiana Artist. Here is what your OffBeat review said of this record: “Wagner has focused much of his energies developing into world-class jazz player with a distinct and sophisticated approach to the instrument . . . This is leagues better than most major-label jazz records where it sounds like everyone is miming behind layers of baffling. One gets an excellent sonic picture of a great band playing right in your living room . . . Let’s make this clear: the Rob Wagner Trio has made a disc that is far more than a mere good local jazz record. We’ve got ourselves a   contender here.”

I trust this omission was an unfortunate oversight and not an indication you don’t stand behind what you publish or even bother to read it.

—Benjamin Lyons, New Orleans, LA

This year’s “Best of the Beat” awards were co-sponsored by OffBeat and WWOZ. The suggestions on the ballot reflected the opinions of the staffs of both OffBeat and WWOZ. The Rob Wagner Trio CD was cited in our January issue as one of the Best CDs of 2001. Mr. Lyons, incidentally, was the producer of the CD in question, which perhaps explains his enthusiasm.—Ed.

NO PEER

Bruce Daigrepont is a treasure to music fans—he and his band are a precious resource to be appreciated. As an out-of-town guest who recently saw Bruce and his band in concert, I can tell you that he has no peer both in terms of the honesty and integrity of the music and the performer(s).

—Paul Bernis, Cooper City, FL

MASTERPIECE

I’d like to see a Masters of Louisiana Music installment on T.K. Hulin. I don’t know his full name, his age, his instrument, his band, his color, his career, his hometown, or even whether he’s still with us.

All I know is, everything by him I ever heard on the radio and the jukebox, such as “I’m Not A Fool Anymore” or “Many Lonely Nights,” I liked.

Today, I’d like to read in detail about T.K. Hulin, and find out how to buy his recordings. What ya gonna say?

—Terence W. “Terry” Maddox, Abita Springs, LA

The first criterion by which we select our Masters is death. T.K. Hulin, born Alton James Hulin on August 16, 1943 in St. Martinville, is still alive and regularly performs with his band, Smoke. The second criterion, in most cases, is a broad body of self-composed work. Mr. Hulin had one hit—“I’m Not A Fool Anymore”—in 1960. The third criterion is that the Louisiana artist has influenced many other musicians.—Ed.

NOT GOOD ENOUGH?

I’d like to start off by saying I think the world of the New Orleans Jazz Fest. I work on Bourbon Street when I am not touring. And people ask me all the time when is a good time to come to New Orleans. And I always say during the Jazz Fest.

But for some time now I have been trying to get in to the festival. And I am always rejected. It’s supposed to be for the local musician but it’s like it’s for a handful and that’s all. I guess I am not good enough for them. It seems like after trying for so many years you think they would at least try me once. Hell, I had my last CD nominated—if that don’t stand for something I don’t know what does.

And there are a lot of other musicians that think the same thing that I do and know it’s true. Well, thanks for your time and hope you see it your way to print this. This is the way I feel about the New Orleans Jazz & Heritage Festival now. And nothing will change my mind. I will never brag on this festival again. And it’s a shame ’cause I meet a lot of people every day of the week and that’s one of the first things that they ask me about.

—Jimmy Thibodeaux, New Orleans, LA

THE POWER LIST

The “Power List” of “The Most Influential People in the Louisiana Music Business” appears in OffBeat’s latest edition of the Louisiana Music Directory, available for $35 directly from OffBeat, Inc., 421 Frenchmen St., Suite 200, New Orleans, LA 70116-2056. The “List” can also be perused at www.offbeat.com. As we stated in the introduction to the “Power List,” “This list isn’t definitive or all-inclusive. We know that for everyone mentioned here there are others with a strong claim. We don’t expect to please everyone and don’t want to. We did struggle with the choices.” The struggle, as evidenced by these letters, continues. –Ed.

I want to thank OffBeat for honoring me as one of the most influential people in the Louisiana music business. It is a privilege to be involved with the venerable music institution known as Tipitina’s. The credit for Tipitina’s present success should really go to Adam Shipley, the general manager/talent buyer since 1998. Mr. Shipley and his staff are the most creative, ambitious, and dedicated team I have had working at Tipitina’s in the past five years. When credit is given for the resurrection and maintenance of the legendary Tipitina’s, I think Adam Shipley and his staff deserve the accolades.

Thank you OffBeat for your continued commitment to Louisiana music.

—Roland von Kurnatowski, Tipitina’s,

New Orleans, LA

Thank you for including my name in the “Stalwarts of the Scene” listing in the 2002 Louisiana Music Directory. It is always flattering to be mentioned with the likes of Barry Leff, Kim Stevens, John Blancher and the rest.

However, I must set the record straight. I no longer manage bands (I haven’t for years), and my company, White Oak Productions, Inc., does far more than book local artists. Although we have won OffBeat’s “Best of the Beat Award” for “Best Booking Agency” for the last three years and are proud of our local booking services, we are also part of the commonly overlooked but hugely important Special Event and Festival production scene. In a town driven largely by tourism, White Oak is firmly established at the center of the industry involving private and corporate special events and festivals and has been for quite some time.

Though I, and White Oak, keep a low profile in the music business community, we are responsible for numerous major events that take place not only in New Orleans but in other parts of the country as well. In just the last couple of years, White Oak has produced high-end events in such cities as San Francisco, Dallas, Los Angeles, Anaheim, Atlanta, Boston, Las Vegas and Deer Valley, Utah, with artists that include Brian Setzer, Chicago, Dennis Miller, Cheap Trick, Los Lobos, B.B. King, Better Than Ezra, the Neville Brothers, Cowboy Mouth, Kenny Loggins and Elaine Boosler.

One of the larger festivals that we have booked and produced for eight years now is the Florida Springfest in downtown Pensacola, which attracts 100,000 people annually. This festival has enjoyed such acts as Creed, Three Doors Down, Hootie and the Blowfish, Willie Nelson, the Dixie Chicks, Smash Mouth, Buddy Guy, Run DMC, Seven Mary Three, Chuck Berry, Lonestar, Collective Soul, Chuck Berry, Little Richard and Filter.

We also book and/or produce many local festivals including the Louisiana Swamp Fest, the Southern Comfort Hurricane Festival, Back To The Beach, the Madisonville Wooden Boat Festival, Earth Fest and the Slidell Heritage Festival; many local special events such as the Zoo To Do, Bacchus, Tucks and Centurians Mardi Gras Balls, Lundi Gras and Go Fourth on the River; and countless corporate and private parties.

All of these events are long-time clients, some as long as 15 years, so we know we are doing something right. I have covered quite a lot of ground since the early years when I was the first to introduce to New Orleans such acts as U2, the Police, Prince, Talking Heads, the Pretenders, Ziggy Marley, INXS, The Go-Go’s, the Bangles and the Thompson Twins. I guess I really am a stalwart!

As you can see, booking local acts is only one of the many things that we do. There really is much more to White Oak than meets the eye!

—Ed White, President,

White Oak Productions, Inc., New Orleans, LA