RELATIVELY INEFFECTUAL ENDEAVORS

Thanks again for your tireless work promoting Louisiana music and your courageous efforts fighting the injustices of the city and state powers-that-be. I’m sorry not to be here to help you in your just cause, but hope that I can now add my comments to the voices of reason within our industry. As you know, I’m now living in Europe, but my heart and soul remains home.

I’m back in Louisiana for Christmas and writing to express my disappointment and disgust at the fact that Louisiana politics relating to our wonderful, internationally recognized music resource remains status quo. I’m now playing music full-time, but you and a number of people in the business are aware of my major label experience promoting Louisiana music abroad. As I’m on holiday now and taking time from my own career I have reserve time and energy to use pointing an accusing finger at the indifference shown by our state legislature and the City of New Orleans (my birthplace: Mercy Hospital, ’58) with regards to their support of our state’s most enduring and precious natural resource, our musical heritage and the contemporary musicians who are carrying the flame into the new millennium.

First and foremost I want to call attention to the “entertainment” tax imposed on live music venues in New Orleans. This tax plan is ridiculously short-sighted and counter-productive and I appreciate your personal efforts to right this wrong. Speaking from experience as an internationally touring musician and having worked with BMG in the early ’90s to promote the largest consolidated catalog of Louisiana music ever marketed in Europe, I can say with certainty that people throughout the world know New Orleans primarily for its contribution to popular music.

Not only should live music taxes be eliminated, but instead Louisiana and New Orleans politicians should forget their pork barrel projects long enough to investigate what they can do to support music clubs and other businesses providing work for Louisiana musicians.

I’m now living abroad and paying tax in Denmark so I’ll use their system as an example. Danish music venues offering live entertainment at least three days a week are considered a cultural resource and are subsidized for approximately 1/2 of the DMF (Danish Musician’s Union) minimum live performance rate for each musician performing in their clubs. The live music subsidies in Denmark are financed by the local communes (city/parish). There are similar subsidies or tax benefits offered clubs throughout Europe. Why in hell are New Orleans club owners burdened by additional taxes? It doesn’t take a rocket scientist to figure out that in the end these additional tax costs come out of the musicians’ pockets.

A similar subsidy to Louisiana live music venues could be partially financed from taxes imposed on gambling in the state. Bottom line, state legislators: tax the casinos, sports bars and discos as they contribute absolutely nothing to our state’s cultural profile. In return the Louisiana’s live music venues could have musicians sign tax forms when they receive their performance pay that will document the venue’s expense and force musicians to become more business-like with regards to filing taxes on music income. Tax deductions for musicians are available on travel and expendables (strings, demo CDs, etc.). Becoming more aware of tax systems and strategies and playing business straight will work to their advantage.

Why doesn’t the Louisiana Music Commission spend more time and energy developing practical solutions for promoting Louisiana music and helping the Louisiana musicians instead of Hall of Fame projects and other relatively ineffectual endeavors? I would honestly like to offer praise and satisfaction regarding the commission’s work on the Grammy Hall of Fame, but we all know that the music business is centered in L.A. and New York, so the Hall of Fame being placed in New Orleans is nothing more than a bit of window dressing that to those in the know serves as nothing more than a smoke screen to the fact that the present Commissioner has done little of practical value in nearly a decade of holding the position. Secondly, let it be remembered that Louisiana plays no role in the production or promotion of popular music (unless you want credit for being Britney Spear’s home state…but remember that she too is a product of major label production and promotion). This lack of a real position in real music business is not due to a lack of talent, but is the affect of the lack of a music business infrastructure in the State.  History has proven that we had our chance in the ’50s and blew it due to short-sightedness by unions and local politicians.

The current commissioner, while being a nice guy, has been in office since I began working with BMG in the early ’90s. Bernie [Cyrus] was no help to me then and has done little since, which leaves me wondering about what exactly qualified him for his position, then or now. As far as I can see the commissioner has survived two administrations by spending most of his energies lobbying for the small budget allocated his commission rather than standing up for musicians and tackling issues that may be a little more controversial but certainly much more meaningful in terms of creating income and opportunities for Louisiana music.

Perhaps Louisiana doesn’t need a Music Commission after all. Maybe what the state needs is one enlightened leader who is not guided by a personal political agenda. A Music Czar (or Czarina) whose qualifications are based on music business experience rather than political aptitude and brown-nosing. Forget the “big” names in the current Commission’s mutual admiration society. Cut through the talk and  parliamentary procedure and put a stop to the political “business as usual.” Now is the time for practicality with regards to helping the state’s musicians and music businesses. Real solutions can be implemented only through courage, clear thinking, a positive plan and an unwavering resolve.

In closing I would like to say that I’ve seen Steve Picou’s childish attacks on OffBeat when the publisher and staff point out the inadequacies of the Commission and its long-time lackluster performance. Frankly Steve, you may aim your peashooter at me if you wish, but you will have trouble finding anyone to support an attack on me or my business reputation in Louisiana or abroad, and should such an attack end up in print, you had better be able to back libelous accusations with proof. I’m far away, but have a particular love of law, a lot of experience and many friends in the field. Why don’t you guys have a good look at your track record and bow out gracefully? Zero years of do-nothingness is enough…even in Louisiana.

Keep doggin’ ’em Jan. Sometimes you gotta kick up a little dust to foul their smoke and mirror techniques and reveal the political trickery behind the illusion. People of Louisiana, know where your tax dollars are going and demand accountability and REAL results!!!

—Danny Kane, Copenhagen, Denmark

IT’S TOO LATE

First, I’ve never written so just want to say thanks for the cool magazine. Second, amen to the letter from R. Dusk Lipton on “New Orleans Time.” I’m 28 and work a job that requires me to get up around 6 or 6:30 in the morning, and judging from the condition of I-10 at 7 a.m. I think is a fairly typical schedule. Listening to and playing music (guitar) is what makes my life fun, so I can’t tell you how many times I’ve said the same words as Dusk—“Who the hell are these people catering to with weekday shows that start at 10 or 11? And then the band you came to see doesn’t come on until 11:30…” Repeatedly coming to work after four beers and four hours of sleep wouldn’t be good for my career, so I take vacation time if I really want to see—and thoroughly enjoy—a show. That pretty much sucks. I wonder if some of these places could be talked into trying earlier shows (say 8:30 or 9) for a month, just to see what it would do for revenue. If I knew it wasn’t going to shoot my whole next day I’d be a lot more tempted to go see a band I’ve never heard.

—Dean J. Cherre, Metairie, LA

I moved here almost two years ago because I was living in a smaller college town where the music that I love (blues, funk) just dried up. I’m a professional IT consultant and have two school-age kids. I have been very disappointed that I can’t go hear lots of the shows that I would love to hear due to late starts (Maple Leaf is the worst, I think, due to catering to the Tulane crowd that doesn’t have to rise and shine prior to noon) or really high ticket prices (House Of Blues). Man, I wanted to go hear Dick Dale, but, starting at midnight on a Thursday? No, ’fraid I have to make a living, not to mention keeping the kids on track by getting them to school on time. Why, oh why, can’t the headliner start at 10? I could catch the music and get to bed in time enough to be productive the next day. Rock ‘n’ Bowl is really about my favorite place because they start on time, its not too damned smoky, or way too crowded (H.O.B., guilty again—in a sold out show there, I can’t move or breathe). Sometimes, I really wonder why I moved here. My money doesn’t go nearly as far: state income tax, tuition for kids because the public schools are pathetic, 10% sales tax, way higher rent!!!!!!!!!!!!!! But, I do love the music (when I can get there)… Peace.

—Bess Buntin, New Orleans, LA

I think New Orleans show times should stay just the way they are now. Life is for living and if you’re in a town like New Orleans you just have to roll with it. Imposing earlier start times for the live music community is akin to living in a town with a 2 a.m. (Austin) or 3 a.m. (Memphis) curfew. Leave New Orleans time unique. The tourists can sleep when they go home. Besides what about all the 9 p.m. shows in all the clubs Monday through Thursday as well as the early evening shows on Sundays at most clubs? There are a wealth of shows that can be caught at these times during the week. Friday and Saturday earlier times? Forget it.

—Michelle De Lima (age 38), Metairie, LA

Yes! I love going out any night of the week looking for fresh new bands and sounds to turn me on, especially indie-style bands. And I would definitely do it more often if those bands started earlier in the evening instead of trying to remain so “exclusive.”

—Francis Fournet (age 39), New Orleans, LA

I grew up in New Orleans from 1958 until 1975. At that time I moved to Dallas, Texas. Talk about culture shock! It was like leaving Oz for Kansas. But I digress…

I overcame that shock, and moved to Austin in 1976, and lived in that musical mecca for the next 12 years. Now I live in Florida, near Tampa.

I moved back to New Orleans for two years in 1999 – 2000. One of the biggest beefs I had was the LATE start times of the music events. I love music, especially live music. I devote a major part of my vacations and discretionary spending on the pursuit of music. It lifts my soul and enriches my life.

But dang! In New Orleans I had to get up at 5:30 every weekday to go to work. And when a show says 10 o’ clock, which really means 11, and the first set ends at 1 a.m., and you gotta get up in four hours to go to work, it just grinds you down more than it’s worth.

I felt like a castaway dying of thirst on the ocean. Music music everywhere, but not a note in reach.

Now—I guess I could have quit my day job, and turned into a vampire—but that’s just not healthy, or rewarding. Like some of your other readers, I’ve got a family to feed.

—Frederick J. Bell (age 43), Tampa, FL

I’m 36 years old and I’ve been a frequent attendee of New Orleans club shows since about 1987, when I was 22 year old. Back then I could go out to a show at Tip’s or the Wolf and head home in time to get an hour’s worth of sleep (sometimes less) before my wake up alarm at 4am. I would be dead to the world by the time I got home after work but, to me, it was worth it.

However, even then I was pondering why shows couldn’t start earlier. It made no sense to me. Now that I’ve aged, I find myself passing up shows I would have eagerly attended a few years ago. I regret missing these performances but I just can’t handle the lack of sleep anymore. A friend of mine who is in a band explained to me that the club owners are always delaying the show in the hopes that a late bunch of people will show up. However, I’ve seen groups of people pass by the Wolf, look in and see nothing happening, and decide to walk on to somewhere else more happening. The club owners should depend on the music to draw the crowd. After all, we can drink cheaper at home. It’s the music that gets us into the clubs. I would definitely attend a lot more shows if I knew I’d be getting home before I age too much more. While the HOB does start on time, I find their whole corporate attitude and higher ticket prices and overbearing security personnel to be off putting, and I begrudgingly attend their shows only when there’s someone I simply must see performing there. That’s my 3 1/2 cents (inflation).

—Ritchie Champagne, Metairie, LA

A CAN OF WORMS

The “Letters to the Editor” section opened quite a can of worms last month and I’d like the opportunity to respond to some comments.

First, I’ve had the good fortune to know Tab Benoit for at least ten years. Tab first came to Rock ‘n’ Bowl during the weekly Abita Blues Jams that use to occur every Thursday night here. He seldom missed a jam driving from Houma and back for the opportunity of playing three blues songs. While the girls always were wild about him, it was the other musicians who would rave about his blues talents. There was never anyone who was more humble and self-deprecating than he when praised and he spoke of his great desire to play the blues. After being discovered by Justice Records here at the 1st Annual Abita Blues contest, his career took off. It never changed his humility and on more than one occasion he told me how he hoped to pay back for the assistance given to him by the Baton Rouge blues musicians who he idolized and considered to be the masters. I can tell you that he has expressed to me many times what a dream it has been to play with them. Appearances at the Rock ‘n’ Bowl by these Baton Rouge artists and also J. Monque’D, has occurred at times on his urging, even taking a cut in pay to have them on the show. To conclude this matter, Tab Benoit, in my estimation, could not have been more gracious and respectful to his blues predecessors and blues contemporaries.

On the matter of Mr. Lipton’s on mark complaint of clubs starting late, it is one of the things that continually amazes me in this business. Perhaps it would be in my personal interest to say nothing on the subject, since my compatriots feel comfortable to their detriment. But for the state of the local music scene, musicians themselves should insist on starting on time. I believe they would be surprised at how much money they cost themselves in their lifetime by perpetuating this disdain for punctuality. Musicians complain about pay in this town but their habits of tardiness directly affects this condition. I’ve seen many bands come and go in the last 13 years, and I can tell you that the ones with longevity have been businesslike in their approach. Talent and responsibility will always go further than talent. There are a number of musicians in this town that have been playing for years and never making anywhere near their potential income because of their lack of business acumen, or worse, lack of respect for their fan base. Many wake up one morning bitter of what happened to their dreams and complaining how the music business mistreated them when what really caused it was their lack of respect for their public.

—John Blancher, Rock ‘n’ Bowl, New Orleans, LA

GOLD TEETH AND POPEYES CHICKEN

I am not the kind of person who writes to magazines (no offense to those who do)—however, the letter from J. Monque’D about Tab Benoit in your Letters to the Editor column really boiled me over. I’ve heard several jealous musicians down Tab for one reason or another. The fact is that Tab is a musician whose tone and touch on his instrument are instantly recognizable. He has found is own voice (unlike 98% of “blues” musicians including you Mr. Monque’D). This is what makes him popular among people who like music instead of politics. I guess the same could be said about Harry Connick, Jr., or how about Wynton Marsalis? After all, who are they without their fathers? (This is, of course, a joke.)

The fact is that I stumbled on to Tab from an article in your publication. I purchased Standing on the Banks and it has been one of my favorite albums for years (and yes Mr. D, I do listen to “authentic” blues as well). By the way, the Willie Nelson cut is far from my favorite.

I’ve seen Tab play several times and he ALWAYS played from his toes! ALWAYS gave 110% to the people that took time out of there life to spend an evening with him.

Tab is out there almost every night on the road, traveling, playing one-nighters, and giving back every chance he gets, bringing the spotlight to people that inspired him. Tab has also never been ashamed to tell people that his home is Houma.

All this success and he never had to put gold teeth in his mouth, or sell out to Popeyes fried chicken.

—Michael Juan Nunez, Erath, LA

JOY TO THE WORLD!

You cannot imagine my joy when I saw the Festival 2001 CD pictured in your advertisement for new subscribers! It will have to go a long way to be as good as 2000’s was! That, as are all the previous ones, was an instant fave for our collection, but upon further listening every song is great! Usually there may be one cut or two that although listenable are not our cup of tea. But on 2000 every track was GREAT and so many new artists we were then unfamiliar with, but not anymore. So I await with great anticipation for ’01 to get to our cabin! Where is the picture of brother Aaron from in the Best of the Beat (December ’01)?

—Dean Styles, Winston-Salem, NC

We always love spreading joy. The photograph of Aaron Neville was taken one hot Sunday afternoon in 1981 by Bunny Matthews, when, accompanied by Barbara Hoover, he consulted with Aaron at the Esplanade Avenue home of Bill Johnson, then the Neville Brothers’ manager. This was a few years before the incident on an airplane flight to Houston when Aaron, after a heated discussion concerning whether or not professional wrestling was “real,” nicknamed Bunny “Hatchetman,” apparently because of Bunny’s effervescent, joyous personality. –Ed.

SOCIALLY REDEEMING

Just a quick note to thank Bunny Matthews for, once again, revealing the REAL New Orleans. I sincerely hope that Miss Pussycat’s puppetry will be videotaped for posterity.(Don’t worry, it’s legal to film puppetry as long as it has socially redeeming value.) I am about to renew my subscription and I personally think that this video should be the subscription premium. A two-year subscription should get two copies! CBS could do a holiday back-to-back of Christmas classics… “Charlie Brown Christmas” and “North Pole Nutrias,” sponsored by Dolly Madison and Hubig’s.

Life is good. We are all blessed. Bunny never lets us forget this. Thanks, O most high Hare master!

There is a new volume of reissued writings about old New Orleans by Lafcadio Hearn. When can we expect a Bunny Matthews anthology?

—Al Dunn, Salisbury, NC

Miss Pussycat’s video version of “North Pole Nutrias” is available from director Rick Delaup’s web site: www.eccentricneworleans.com. The mailing address is Eccentric New Orleans, Box 791329, New Orleans, LA 70179-1329.

Bunny Matthews hopes to have an anthology and/or coffee table book published before he’s laid to rest in the Abita Springs Cemetery.—Ed.

NOT AN EXPATRIATE

Thank you so, so much for the great review. I don’t get an enormous amount of press so it is wonderful when the reviewer is positive and insightful.

I would like to point out that my tune “Waiting” was not “lifted” from” Can’t You See” by Marshall Tucker. It was lifted from “Sweet Home Alabama” and “White Room”!! I’ve never owned a Marshall Tucker record. Anyway D/C/G is a very common chord sequence. I didn’t take it as an insult—just an honest mistake. Also I’m not sure if I qualify as an expatriate since I am a resident, taxpayer, homeowner and I have spent an average of six months out of the year in New Orleans since 1991. But I’m cool with the term. It sounds exotic. The only other thing that caught my eye was an indirect compliment to my songwriting – Anders co-wrote less than half the tunes, not most of them as you said. Thanks. I like Anders’ songwriting a lot.

Anyway it’s one of the best reviews I’ve had—ever. It clearly gave the impression that you liked the CD (the most important thing) and on top of that you made interesting and acute observations. You are good at what you do. So once again, thank you very much.

—Andy J. Forest, New Orleans, LA

DR. JOHN’S MONEY

Dr. John has done a tune with Jimmy Smith on a disc called Dot Com Blues. The lead song is from the pen of Dr. John and called “Only In It For The Money.” Sure would like to get the lyrics to this grand piece. If you could assist, would be most grateful.

—W.L. Barlow, via email

We also dig this song and find Dr. John’s elocution quite easy to understand: “Gotta handful of gimme shining in them bloodshot eyes/You lived your life like you played gin rummy/10’ll get you 20 you’re only in it for the money, baby.” The conflict between Art and Commerce has been a continuing theme in Dr. John’s recorded work since the creation of the Nite Tripper concept in 1967.—Ed.