BITING HIS TYPEWRITER
Rob Fontenot wrote a good review about my last CD which (I think) helped get it into the top 50 Louisiana CDs of 2004. Thanks for that—but I have to get this off my chest. I have been noticing the distinct tendency in the reviews by Rob Fontenot to be particularly nasty, snide and schadenfreudeistic. I’m not sure if the term schadenfreude applies when the person taking joy in another’s downfall is the one who is actually trying to cause it. Maybe sadistic is a better term. The new (January 2005) issue had some very creepy words about Coco Robicheaux and Kermit Ruffins. The “Marsh Gas” review is one part compliment—four parts unprovoked, deriding, persnickety bitchiness. I started to write this letter three months ago yet I bit my tongue. Now I’m biting my typewriter. Two reviews had caught my attention in the September 2004 issue. The one about a Roy Rogers CD and the one about John Carey’s new recording. Both told me more about the reviewer than they did about the CDs. He (the reviewer) seemed like the kind of guy who before he can give one compliment he’s got to insult everybody in sight. I bet Roy Rogers certainly feels relieved that R.F. decided he wasn’t a “fake bluesman” even though he has the “telltale hat” and “nice shoes” ….whew! Maybe I’ve got him all wrong and the poor fellow is suffering from Obsessive Compulsive Spurning Disorder. John Carey is a fine musician and a good friend to a lot of people in this town. I think he deserves more respect and less ruthless scathing. Take out the snide tone and mean heartedness while you’re at it, thank you. My wife suggests Mr. Fontenot may find his observations more suited to the society pages than a music rag. Anyway this isn’t limited to Mr. Fontenot (see Steve Steinberg’s insulting review of Mad Dog’s CD). Jan Ramsey once told me that OffBeat was started with the intent of helping the local musicians. If so, then why do so many good local musicians get trashed and mocked in its pages? On the other hand I’ve noticed that artists signed to major labels get good old fashioned gushy, slobbery, butt kissin’ up and down the Parish… pretty consistently.
I can’t help but think Mr. Fontenot in particular is letting some of his own deep frustrations or internal turmoil interfere with his better judgment. I hear he’s in a band—let’s hear it buddy. They better be f*#*in’ good. Of course I don’t think editors should tell reviewers what to write but there is an apparent pattern in the OffBeat style that I have been reading and – shhhh (whispering) don’t tell anybody but… I AM NOT THE ONLY ONE WHO FEELS THIS WAY! If any of your contributing journalists are offended by my letter, that probably means I’ve touched a nerve AND they can dish it up but they can’t take it.
Personally I hope you can attract more writers like John Swenson or Marc Stone who actually can play and/or are out on the scene listening to live music. Otherwise… uh… keep up the good work.
—Andy J. Forest, New Orleans, LA
First of all, Andy, you’ve given me something to think about, and thanks for THAT.
Being a reviewer is a lot like being a songwriter—you’re always looking for a hook, something to draw the reader’s/listener’s attention in. If I can get that hook by pointing out how genuine someone is compared to an army of imitators (as in the Roy Rogers review), I’ll do that. I try and keep things balanced wherever possible… look back at my reviews and you’ll also always notice something positive inside the negative ones. And if I were here to slag on an entire scene, you’d have a hard time explaining away my OffBeat articles, columns, and interviews, none of which are negative in the least.
Then again, you may be looking for sparks where there aren’t any. That Coco review, for example, was merely supposed to be descriptive in the “marsh gas” phrase, not derogatory. In fact, I don’t remember ever saying an intentionally unkind word in print about Coco, John Carey, or Kermit, all of whom put out consistently excellent work. (And if you think we give an out to artists with a major-label deal, check out my review of Marc Broussard’s “Carencro,” which I liked overall but had some problems with.)
As for the band thing, well, reviewers are always caught in a Catch-22 there—if they don’t play, they’re considered know-nothings, and if they do, they’re expected to be consistently brilliant. I am in the process of making a CD, and it is fucking good. But it’s not fucking great, which is why it’s not out yet. Frankly, I wish more folks would take this approach.—Rob Fontenot
ALL FANTASTIC
Thank you all for the absolutely awesome evening at Harrah’s for the OffBeat Best Of The Beat Business Awards. I cannot begin to tell you how inspiring the evening was. From Jan’s [Ramsey] humble and gracious appreciation of her work, to Earl’s [Turner] enthusiastic and contagious energy, to the speakers who truly did speak from their hearts… it was all fantastic. I am always amazed at the dedication of our musicians, our clubs and all of the organizations that truly know how important our music community is to the spirit of our city. Many thanks for reminding me of why I do what I do.
—Beth Vicari Fisher, Acting Executive Director, FQFI, Inc., New Orleans, LA
NO SHORTAGE OF CANDIDATES
I was kind of hoping that Forward Motion would maybe be nominated somewhere in the Best Of The Beat, or that perhaps this would be the year my name would be included in the bassist category, but, well, maybe next year. There is no shortage of qualified candidates in any category, that’s for sure. At least I played on several CDs that did make it.
I wish you all at OffBeat a happy and prosperous holiday season, and a great new year. Keep up the good work and thank you!
—Jim Markway, New Orleans, LA
Mr. Markway was referring to our nominating ballot, which results in a nomination. Although the voting community can write in a name, we recognize that not being included is almost like not being nominated.—Ed.
STREET CULTURE
So, when are y’all gonna add a category for the best street musician/band. One of the things that sets this city apart from the rest is our city’s street musicians. Austin is trying to bring their “street culture” back with a series of outdoor concerts, Boulder has gone the way of over regulation, and the Keys are in that same sinking boat. Locals and tourists alike sit to listen on a day off or on their lunch break. Give these guys who perform in the purest way possible some props. The street musicians are often the first music visitors hear before they are inundated with the blaring music of Bourbon Street. If these folks weren’t any good, they wouldn’t be making a dime (or certainly wouldn’t keep at it not making rent). Some are world renowned. Give it some thought!
—Tara Kennedy, New Orleans, LA
WHERE ARE THE MOVERS?
I am a grandfather here in New Orleans and although I don’t get out much to clubs anymore, I will catch a show or two every now and then. I do read OffBeat to keep up with the music going on’s in the city, but I have not read a single thing about the Imagination Movers. I spent yesterday at the Louisiana Children’s Museum and was amazed at the amount of people there. Close to 2,000 I was told. One reason I guess is my two grandchildrens’ favorite group—Imagination Movers.
Now I am fan of Western swing mostly and have quite a collection, Bob Wills to Ernest Tubb, so pop and rap are not my favorites, but the Imagination Movers are an exception. I marveled at the sheer delight of everyone at the show, parents and kids alike. We bought their CDs and after listening to them was taken back by the songwriting (even if it is for kids). How can a musical group as popular as these guys never make it into your magazine? Seems odd.
—Paul Durbin, New Orleans, LA
NOT LEE OSKAR
Thanks for such a positive review. The harmonica player on our CD Nothin But Good Lovin’ is George “Harmonica Red” Heard from Baton Rouge. Not that we wouldn’t love to have Lee Oskar but it wasn’t him. Harmonica Red is often compared to Lee. Can you please correct this?
—Al Lauro, Big Al & the Heavyweights, Nashville, TN
