JOHNNY SKETCH
I hope you don’t mind an honest critique of a CD review from last month. I couldn’t be more disappointed in one of your writers for trashing Johnny Sketch and the Dirty Notes’ new record. In a time when 99.9 percent of new records in New Orleans are about “that thing” from 2005, an upcoming, hard-working band chose to record a concept album about a lot of the positive aspects of our beloved city and its variety.

You can hear the funk of the Meters, the beat of the second lines, the joy of the brass bands, the energy of the local indie rock bands, the arrangements of classical music, and touches of klezmer and Latin sprinkled throughout the album. Blended together, it is very much a Johnny Sketch and the Dirty Notes album.

The band is moving forward, not dredging up painful memories of late 2005. This album represents many things great about this city. I hear it as an invitation to the world to come experience the melting pot of New Orleans. Come experience the culture, the music, the food, and the variety that is inherently New Orleans.

So what if this band is all over the map when they record? The entire city is all over the map! Asking them to represent themselves differently on CD is like asking New Orleans to choose either red beans or crawfish. Or the Meters or the Marsalis Family? Or Harry Connick, Jr., Dr. John, or Fess? It’s all of those things that make our city special, and it’s the variety that makes Johnny Sketch and the Dirty Notes. That variety keeps me entertained and listening to their CDs, going to their shows, and waiting eagerly for their next creative work. And I’m proud as hell to have them represent the city of New Orleans when they’re out on the road.

—Greg Fenario, New Orleans, LA

MARKETING MUSIC
What on earth are you talking about? Coming from someone who was persuaded to attend Tulane University four years ago, and was bombarded with advertising on New Orleans both from the school, other CVB material, guidebooks, and publications, do you seriously believe that the music scene in New Orleans is not advertised well enough? As a former outsider, I can definitely tell you the diversity of music and culture on the whole is what was presented to me, and what attracted me to live here.

And in relation to your evaluation of Austin, congratulations on going to SXSW where hundreds of national and international bands and thousands of non-Austin-ite attendees flood the city every year, not because of Austin particularly, but because of the content and hype of the festival, where a great band from Sweden has the same chance as a great band from Austin in being the festival’s breakthrough new act. “The Live Music Capital of the World” is only a great marketing ploy by the Austin CVB, which is lucky that SXSW occurs there. I consider myself a pretty astute music listener, paying attention to various local scenes around the country, and I cannot name one band from Austin that regularly plays there, only indie bands who have blown up, probably due to their playing SXSW at some point and some A&R from New York hearing them. And you mention the Austin City Limits festival, again another event whose lineup is pretty much only national touring bands. What about Voodoo Fest? Or maybe Jazz Fest, I feel the best festival combining national-level acts with locals, and perhaps the best single manifestation of the city’s culture in one place.

And what is this vague assertion that “artists and musicians are regularly given opportunities in Europe and Canada.” Opportunities to do what? And how are these “opportunities” any better than what practically every band in America has offered to them? Shoddy opining, in my own opinion.

But going back to New Orleans specifically, look at any other American city—the nightly music calendar is nothing compared to the activity this city has, where local band members are practically celebrities, and just because you don’t have jazz clubs on Bourbon Street doesn’t mean no one is paying attention to the city’s music. If Bourbon Street and quasi-college bars like Jimmy’s are your indicators of how well the music industry is being advertised and paid attention to—ugh. I think you need to reexamine your own criteria, and I expect more from you, the well-respected editor of one of the best publications of the city.

—Michael Drohan, New Orleans, LA

We have great music. We just need to learn to market it more effectively, like Austin. What’s lacking in Louisiana is an organized marketing campaign like Austin’s “Live Music Capital of the World.” By the way, SXSW has always been a huge networking event for the entertainment industry, which has been an important factor in improving Austin’s economy overall. Bourbon Street used to have more live music than any place in the city; its music scene was ruined long ago. Regarding European and Canadian music grants: I gave a specific example of funding received from the Norwegian government to help musicians further their career. The musician uses the money to develop his or her own opportunities.

CLIFFORD ANTONE
“But it’s not New Orleans. The music there is missing something—a soul?”

I’ve read and re-read your article a number of times and just want to mention one name that addresses the “soul” question: Clifford Antone.

While the city of Austin doesn’t have the musical heritage of New Orleans, it’s not difficult to say Clifford gave the city a lot of soul. When he opened the original Antone’s, the first show was the king himself, Clifton Chenier and his Red Hot Louisiana Band. Followed by Junior Wells, Muddy Waters, Albert King, James Cotton, Sunnyland Slim, Bobby “Blue” Bland, John Lee Hooker, etc. Austinites, as well as helping youngsters like Stevie Ray and Jimmie Vaughan, Angela Strehli, Lou Ann Barton, have helped a host of other folks out, too.

Then there is Austin City Limits. I recall the first show the subdudes did for Austin City Limits—Tommy Malone saying “wow” with this huge grin on his face after playing their first song. He had watched Austin City Limits for years and now there he was on the stage of ACL playing their music. One can walk around the city and hear the music still playing in old departed clubs like the One Kite, Soap Creek Saloon, Liberty Lunch, Armadillo World Headquarters, and hear legends like Albert Collins, Lonnie Mack, Johnny Copeland, on and on.

—Neil Brank, Humble, TX

SUSAN COWSILL
Wonderful article on Susan Cowsill and her life. Thank you. I wish her the best!

—Norma Kolias, Dallas, TX

POP LIFE
Alex, I always enjoy reading your weekly column [Pop Life], but you missed an opportunity! Your “suspicion” about the Dap-Kings should have included the fact that their name came from “Dap Walk” by Ernie Vincent [and all those Top Notes]! That’s digging way down in the crate!

—George K., Brooklyn, NY

What is George referring to? Go to OffBeat.com and click on “Pop Life” to find out.

A Correction: In “The New Farming Frontier,” we quote “Wolnik.” That is Darlene Wolnik, deputy director of Market Umbrella, which operates the Crescent City Farmers Market. Our apologies to Darlene.