Download: Marco Paul “The Heavenly Music Corporation”

(for a complete play list please visit dublab.com)

For ten years, since the days when ‘Internet radio’ was as futuristic a concept as the electric car, dublab has been adding color, texture and depth to music in Los Angeles and the world beyond. Hip-hop and soul and jazz and psych and punk and folk and cosmic genius and more—whether from L.A., from deep history or from someplace no one’s even sure about—all find a permanent home at dublab.com as well as in the work of an army of DJs and artists and musicians and listeners who constantly prove that there is always something new and beautiful to listen to and learn about. Labrats Frosty and Ale meet at Girl House to talk about their anniversary. This interview by Chris Ziegler and Drew Denny.

Daedelus said dublab started when a bunch of super-nerds at USC found each other—true?
Mark “Frosty” McNeill (co-founder and president): Lies! Where is that guy? The ‘nerds’ part is very very accurate. Intense record geeks is probably a good description. The whole idea—we don’t know everything and we always wanted to stay open. We always wanted to discover, get turned on to something new. We were trying to share something with our listeners and we discover things along the way, so it always remains fresh. You learn more and more. You never know what direction it will take you.
Brad from Wounded Lion was saying that as a kid he learned from Rodney on the ROQ that all eras of rock ‘n’ roll are friends. I’d even say all genres of music are friends.
Mark McNeill: They’re all connected. There is a lineage. Everything is derivative and that’s not a negative term. Everything influences everything. That’s the whole idea: keep it open and broad. When we started on Real Media Player or Windows Media Player, it was in the midst of all that Internet stuff. We got a lot of free lunches and heard the word ‘synergy’ a lot.
Didn’t you almost have a million-dollar investment?
Mark McNeill: We were offered money before we even launched. I was fresh out of college and I’d sit in meetings with these people and think, ‘If you’re dumb enough to want to give us money, there’s something wrong with your company and you’re not gonna last.’ Everything was very shaky. We had one investor—the only one who seemed good. He was basically the guy who came up with the banner ad. He had tons of money. We were days away from signing papers and everybody was ready to do it. He was giving us money and then the morning the NASDAQ crashed, we got a phone call and my partner Jon’s face just fell. The conversation was basically, ‘I think we need to re-think the nature of our investment.’
Shoulda got the guy who invented the Viagra ad.
Mark McNeill: We do! He’s here—Ale, pull down your pants!
Alejandro Cohen (general manager and treasurer): In the long run, maybe it was a blessing in disguise.
Mark McNeill: We said no to everything for so long. There was such hucksterism in it. Very in the moment. It’s like a pop trend that’s on the radio. You see it from the start—it’s a flavor of the moment. If you take it as that and have fun, it’s cool. But don’t imagine it’s gonna be around for twenty years. All that stuff was a fly-by-night vibe. We probably would have been done nine years ago if we’d taken some of that money.
You’ve DJed at places like LACMA—do you think big institutions fetishize the DJ as a symbol of what’s cool?
Alejandro Cohen: Yeah. They ask, ‘What’s your DJ name? Just, uh, Ale?’
Mark McNeill: For the past three years we’ve done a lot of ‘cultural institution’ gigs. They’re cool because they’re not at places where people wanna go crazy and slide across the bar. It’s kids, families, all ages—people that are not gonna be at Part Time Punks. They trip out on seeing records. It’s weird.
How were you able to make dublab a place where Damo Suzuki, Linda Perhacs and Neil Hamburger can all feel equally at home?
Mark McNeill: We have really good incense!
Alejandro Cohen: You lose perspective on the variety of music because it all mixes. I’ll be visiting friends back home and play dublab for them to give them an idea of where I work. For them, it’s extreme worlds mixing in one place, but to me it sounds kind of like the same place. Latin to the other guy doing Middle Eastern . . .
Mark McNeill: Maybe it makes them nauseous.
What are the extreme limits of dublab’s programming?
Mark McNeill: The oldest music comes from Jonathan of Excavated Shellac—a lot of international 78s from the ’20s.
Alejandro Cohen: Some of the stuff Danny Holloway plays, it’s the only copy maybe existing. He did an all-Beatles covers set and was telling me about it. Stuff from Cambodia and weird things he knows. He’s certain they’re pretty much gone forever. Like ‘Hey Jude’ with steel drums—versions where you’re like, ‘What the hell?’
Mark McNeill: Or a lot of those $1,000 45s—B+ will come back from traveling and he’ll bring stuff from Addis Ababa. Original Ethiopian 45s. The idea is to bring it back to the old soul days when people would cut a record and then immediately go play it on the radio. Stuff like that. We play versions that never come out. Weird studio things.
What’s it like to hold the last-ever copy of something in your hands?
Mark McNeill: You should just eat it so it’s part of you! Cats like Jonathan—the records he specializes in are international. It wasn’t for export, it was for those locales. Cambodian records sold in villages but on RCA Victor. They survived in these places that were a pretty harsh atmosphere since the ’20s. They aren’t collector cultures. You get something new and throw the record away.
What kind of people would you have never met except for dublab?
Mark McNeill: We wouldn’t even have met each other if it wasn’t for music. That camaraderie of geeks!
Alejandro Cohen: When I was a kid, I was a very scared kind of guy. I’d look at people who play instruments and be like, ‘Oh, you must be so serious! I don’t deserve any of your time—you must have such important ideas.’ And at the end, most turn out not to! But in music you DO meet people with great ideas, and you feel honored to give them a ride somewhere!
Mark McNeill: The guys from Cluster were a treat.
Alejandro Cohen: They were joking about Brian Eno not being a strong boy.
Mark McNeill: They were living in the countryside of Germany and Eno was coming in from England—kind of a glammy boy. They’d be out chopping wood and all this stuff to warm the house—Roedelius is like a big lumberjack grandpa!—and Eno would be like, ‘I wanna chop wood!’ ‘Go back inside, sissy boy—we’ll make music later!’
When you interviewed James Brown, was it before or after his wife got ass implants?
Mark McNeill: Before she did but after I did. We had the same doctor. One of them fell out and now I have to wear a thick wallet. Have you ever been to the Experience Music Project? I don’t know if they still have it, but they had a ride like ‘DISCOVER FUNK MUSIC,’ like an EPCOT Center total after-school special thing. There were two kids and they turn into an alley and Bootsy Collins and James Brown spin around with sparkles coming off and the screen goes, ‘And now—INTO THE FUNK!’ And you go through James Brown’s legs. It’s nuts. It’s probably from the mid-’90s and really fucking bad. Or did you ever see the Miles Davis scooter ads? Lou Reed and Miles Davis—both at fucked-up points in their life. Miles Davis in a parachute pantsuit and stuff. Weird.
Alejandro Cohen: I’d love to have seen them shooting that. ‘Just give me the check!’
What would a horrible dublab commercial be like?
Mark McNeill: Nick Harcourt-y. ‘It’s 2012 and the city is bumping—the spirit of the night!’ We were thinking we should make one for Cinefamily with robots and stuff. ‘Morning becomes … erotic!’
Do you have the same relationship with KCRW that we do with L.A. WEEKLY?
Alejandro Cohen: KXLU has that relationship.
Mark McNeill: There are people there that are true music fans, but when you build a machine depending on that money, then they’re not any different than commercial radio as far as money and power. They rely on their fund drive so much they can’t take chances. The DJs there are great people and music fans but they tread so lightly. It’s like when I was at KUSC. It’s elevator music—classical music. They found their subscriber base and they keep them happy and that’s it. So it’s not such a service. When you have power like that and you can’t take chances, you should.
Anytime anything declares itself ‘independent,’ it’s sort of a political act. Why is it important for dublab to be independent?
Alejandro Cohen: In a good sense of the word, I’m ‘stuck’ with what I am. That’s what we do. I couldn’t do a conscious commercial thing.
Mark McNeill: All that stuff has a purpose. Certain people do certain things. Maybe they’re just happy with it. We try not to judge what people are up to; we try to give them an opportunity to get something different.
How important to a healthy music community is the sort of infrastructure dublab provides?
Mark McNeill: When we started, the idea was we’d be a for-profit business that did good things with the profits, that was grassroots/community-based. But there was never a profit! You look at Ben & Jerry’s—‘Cool, we’ll make money and support farmers!’ Not that we wanna make ice cream, but nonprofit is in line with the original idea. It fits in with the ethos of why we started dublab. If you go nonprofit, the public owns it. It’s the idea of the listeners being part of it.
Alejandro Cohen: It almost makes the mission of dublab more genuine. There’s not a guy behind it getting rich or hoping to get rich. Even the live sessions are all through a Creative Commons license. So in a sense it really is doing it for the music. Through the years, dublab found itself operating more on a nonprofit model. We were an LLC, but we were doing fundraisers and projects mostly with museums and cultural institutions—we had to do the switch! When we were applying, I was a bit afraid. But a friend of mine who’s worked for many nonprofits said this is very very common—organizations operating for ten or fifteen years with no status at all and then they switch.
Mark McNeill: It’s all very fragile. I remember my grandfather, the last thing he ever said was, ‘You know what? Do what you wanna do. You’ll be much happier. Do what you wanna do. I went through my whole life worrying.’ When I was at USC, most of my friends were film students and some make really good money. Some have Mercedes and houses they bought. I’m somewhat envious. I wish I had a car that wouldn’t break down! But they’re envious of me doing something I dig. I spend my day around good people. I put a little time into the world of bullshit and it’s much more fulfilling to be around intelligent people who are creative. That’s part of the reason for being nonprofit. We don’t wanna bow to the wishes of someone selling the flavor of the moment. We think of a more timeless aesthetic, something that isn’t commercially viable. That’s a major reason to go nonprofit. You can be timeless.

DUBLAB’s TENTH ANNIVERSARY EXPLORATION RUNS FROM THUR., OCT. 1, THROUGH SAT., OCT. 10, AT MULTIPLE LOS ANGELES VENUES INCLUDING THE ‘VIBRANT VISIONS’ RETROSPECTIVE AT THE CONTINENTAL GALLERY ON THUR., OCT. 1; A LABRAT MATINEE FILM SCREENING WITH LIVE PERFORMANCE BY DAEDELUS AT THE DOWNTOWN INDEPENDENT ON FRI., OCT. 2; THE FUTURE ROOTS STAGE CURATED BY DUBLAB AT THE EAGLE ROCK MUSIC FEST ON COLORADO BLVD. IN EAGLE ROCK ON SAT., OCT. 3; DUBLAB MEETS PART TIME PUNKS AT THE ECHO ON SUN., OCT. 4; GIVE UP: SAD FILM SCREENINGS WITH SORROWFUL LIVE SCORES AT CINEFAMILY ON MON., OCT. 5; DECKADES AT THE VERDUGO BAR ON TUE., OCT. 6; A LIVE PERFORMANCE BY LINDA PERHACS AND FRIENDS (INCLUDING HECUBA, CRYSTAL ANTLERS AND MORE) AT REDCAT ON WED., OCT. 7; DUBLAB AT THE DOWNTOWN ARTWALK AT THE CONTINENTAL GALLERY ON THUR., OCT. 8; A JOHN LENNON BIRTHDAY BED-IN RADIO BROADCAST LIVE ON KPFK 90.7-FM ON FRI., OCT. 9; AND A FINALE BASH WITH REPRESENTATIVES FROM INTERNATIONAL MUSIC ROOM, MAS EXITOS, SKETCHBOOK, TONALISM AND MORE AT A VENUE TBA ON SAT., OCT. 10. MORE INFORMATION AT DUBLAB.COM/EVENTS. LISTEN TO DUBLAB AT DUBLAB.COM.

—Thomas McMahon

Neil opened his set like he always does: loudly coughing into the mic and clutching a dozen or so drinks. But opening aside, tonight was different from his normal Sunday-night Spaceland residencies: Neil Hamburger Sings Country Winners just came out and to celebrate he put a full band behind him and decked himself out in a cowboy hat and bollo tie. Also, Rachel Haden sang backing vocals for Neil!  Holy shit!

I never figured out if Neil Hamburger starts his shows drunk or if the drinks he sips, spits, drops and violently throws at people send him over the edge. Regardless, the first song (“Jug Town”) kept the alcohol flowing, twanging on about having a wine-o for a dad. Neil’s singing voice was sloppy as (perhaps) expected, and he tried to salvage it all in Hamburgian-fashion by hurling insults at the audience and accusing his backup band of drug use. He also had his band telling awkward jokes (earlier that evening Neil told me they were straight out of an early 20th century joke book) in between songs.

When Neil does country it isn’t country music in the sense of Garth Brooks, David Allan Coe or Hank Williams, but more in the tradition of the memorable moments when celebrities venture into the studio, people like Telly Savalas, William Shatner, etc. But most importantly out of all this was that Neil performed the zipper schtick! I got zippidy zip zip dips on my zippidy zip zip tits!

— Kevin Ferguson

Lucky Dragons @ The Smell
Jesus Makes the Shotgun Sound / Ojos Rojos @ The Knitting Factory
Neil Hamburger @ Spaceland

Neil Hamburger is officially America’s unofficial funnyman. He just released an album of country songs on Drag City and speaks now with Kevin Ferguson somewhere near Paso Robles.

Have you spoken with the ex-wife?
Only through attorneys. Not directly. There’s just a lot of reasons—legal reasons—that we can’t talk. And there’s really not much to go over; we were barely speaking during the last few years of the marriage anyway, what with my touring and her refusal to answer the phone when I called, so now it’s all down to the attorneys. And they speak to each other quite often.
Have you been dating?
No, I don’t have any time for that, honestly. I’m awful busy with the shows and things, and also nobody would be interested.
How is your daughter doing?
She’s not a happy person. She’s not a big fan of me and what I do. A lot of these people you think are your friends, they really don’t have your best interests at heart. I mean, she hasn’t been to one of my shows in many years, and that’s the least a person can do.
Do you plan on touring the Third World again?
I’ll go where I’m needed. I don’t know if I often am needed anymore. It seems like there a lot of problems in those places, so I would think that they would need me, but you never really know. We’re trying to get to England later this year but I wouldn’t qualify that as the Third World.
What about a USO tour?
Yes, if I was asked, but no one asked me, you know.
What kind of material would you use?
Something to cheer people up. I might have to drop some of my hate-type of jokes—the more negative, miserable sorts of things. Maybe some sexual jokes, because a lot of those guys would love some sort of sexual situation, being cooped up there with each other.
Did you vote in the primaries?
I wanted to vote by absentee ballot. But I had no money for a stamp. Unfortunately, I was unable to do that. But I try not to endorse anyone because it might hurt their candidacy.
Who would give you the best material if elected?
Oh, any of them because if you’re skilled, you can make a joke out of anything. I could make a joke out of Mr. Peanut if he were to win the presidency. And I wish Mr. Peanut would, because you could get some real good jokes out of a guy like Mr. Peanut! That would be funny, to have a peanut in the White House—you gotta admit!
Where do you think our country is headed, then?
Oh, it’s terrible! You can’t afford the fuel—that’s my problem. The fuel guy got in—what’s the president now? Bush? He’s tied in with those guys, Conoco and 76, Chevron and all those companies. So the prices—I can’t afford them! It’s a mess! I don’t know how you pay for your gas, but I’m having a lot of problems doing it myself.
What was appearing on Fox News like?
It’s very lonely, because they’re taping the show in New York and I’m in Los Angeles. It’s just a camera on you and one guy in a giant building, and you got this little thing jammed into your eardrum. It’s hard to hear anything, and there’s a five-second delay. It’s very confusing! I have new respect for those guys when I see them being interviewed. What a strange situation it is under the lights with that damned thing jammed into your ear—they have it jammed all the way in there, you know.
Do you get your news from Fox?
No, I don’t care for that. I don’t watch it. It just depresses me, you know. I’m driving—I don’t have time for that. You can’t set up a TV on your dashboard, and you certainly can’t get cable TV if you’re doing it that way, either.
Where do you get your news from?
I get it from old newspapers I find under bus seats. And sometimes people put papers out for recycling. Then you can grab a whole bundle of those things and get all kinds of news!
Is there a celebrity that’s getting picked on too much?
None of them are getting picked on too much—in fact, some are getting picked on too little! A lot of them are less than ideal—not exactly impressing anyone with the garbage that they’re cranking out. Horrible movies! These people all need to be thrown into a pit and stop disgusting us with their garbage movies and television shows and records. Have you heard this Nickelback? Have you heard of that? Oh my God! That is really bad—I cannot recommend that.
Is there anything you don’t like about your fan base?
It’s not big enough, and a lot of them are dopers. You try to have a conversation with them and there’s a lot of this weird dementia—they’re out of their minds on God knows what. You gotta watch out for that.
Who has a better fan base?
Carrot Top—he’s done real well with those stupid props. Stupid crap! But everybody’s there at the Carrot Top show, you know. He’s playing in Las Vegas year-round.
Somebody peed in your drink when you performed at Spaceland?
What happened was that some prick thought that would be funny to put urine in my drink. And of course it isn’t funny, but tell that to them! That’s the kind of stuff people think is real funny these days. I don’t! I didn’t end up drinking any—you can smell urine, you know. You can smell it a mile away. It’s not a good smell, either.
What do you admire most about Frank Sinatra, Jr.?
l love Frank Sinatra, Jr.—there’s just so much in that voice. They say that you hear a lifetime of pain in the voice of Frank Sinatra senior—well, you also hear a lifetime of pain in the voice of Frank Sinatra, Jr., but it’s a different type of pain. It’s very difficult being the son of a legend. People would say, ‘Well, the man has had everything handed to him,’ but in fact it’s quite the opposite. The man is subject to unfair comparisons. In fact, Frank Sinatra, Jr., is a fantastic, fantastic singer, but no one will listen to it strictly on his own merits. It’s always gonna be a comparison. And I tell you, if you and I were singers, no one would be comparing every word out of our mouths to Frank Sinatra.
Where are you right now?
Right now I am just outside of Paso Robles, which of course is a town we all know and love—here where James Dean was killed. In fact, this is where his body was taken after the car accident in 1955. I do a show there every so often at a pizza parlor on off nights. Not on the main nights. Hopefully the main nights we get bookings in more prestigious type of venues—your Spacelands, your Madison Square Gardens, that type of situation.
Where are you living right now?
I can’t say I’m living anywhere because when you’re doing 399 to 426 shows a year, are you really living anywhere? I’m living behind the wheel of this goddamned car, I can tell you that much! In terms of living in a regular home, I do have a storage locker in the L.A. area.
What comedy great, living or dead, do you dream of sharing the stage with?
Oh you know, I’d like to perform with the popular ones—not because I like them. In fact, I don’t. But their popularity would rub off on me a little. Perhaps I wouldn’t be stuck in this quicksand of debt that I’m currently trying to swim out of—and getting deeper and deeper every moment!
Is it true that you have an autobiography in the works?
God! That sounds like one of these hatchet jobs. People will say you have syphilis if it will help them sell their paper. I never wrote any autobiography. I mean, I would, but nobody has offered to publish such a book. We got at least 12 albums, comics, DVDs—what’s that awful site where all freeloaders are, huh?
Youtube?
Youtube! We got a lot on there. What a nightmare that is, huh?
Whose idea was the Bonnie Prince Billy movie shorts?
Those were commercials. That was the record label who wanted to promote the album with a series of television advertisements, which did air in about 20 different markets on late night TV. You’d be amazed how inexpensive advertising is on late night TV, at like one or two in the morning. They bought a block of these ads in 20 markets nationwide and needed to produce some ads for the album, and so we got together and shot this stuff in Studio City over the course of a particularly memorable afternoon.
Particularly memorable?
Well, it was memorable in that we were able to shoot three fantastic, entertaining commercials without the aid of a script in a very very short period of time. While, you know, having a few tropical drinks, and a few laughs.
What was your impression of him?
He’s a great guy. I’ve worked with him before. We’ve done shows together—he was a guest on my TV show Poolside Chats with Neil Hamburger for a really great hour. What a talent in all fields! Whether it’s singing or acting or just telling jokes, the man is actually a comedian in his own right. If he ever gets tired of the song and the dance and all that, he can switch careers and be a joke teller.
How did you throw together a country album?
You always gotta do something new. I’ve done so many different records that they said ‘Let’s do something new!’ You might remember some of the great celebrity vocal albums that people love—people such as Telly Savalas or William Shatner. People really like an album by a celebrity or personality who they really enjoy. Whether or not that person is actually a great singer is beside the point, if you can come up with some songs that can suit their particular personality—as they did in my case. I know I’m no Pavarotti, but if you like Neil Hamburger—if you like the particular scenarios that take place in my life—here are a whole series of songs tied right into that.
So you wrote them?
They’re mostly original songs written for this project. There are only about two or three cover songs the rest were written and designed with Neil Hamburger in mind—to bring you the Neil Hamburger story in musical form.
How many units are you going to need to sell in order to abandon comedy?
Oh boy, I don’t know that I could ever sell enough to abandon it all together! If I could sell enough to buy myself out of debt and a bed or some sort of working vehicle because the ones I’m using are not so good… that would certainly pull me towards cutting down the bookings. I certainly would like to work less than I do, I’ll tell you. There aren’t a lot of people that work as much as I do.
Yeah, you’re all over the place.
And for so little, I might add.
What are some of your country music favorites?
Well, Frank Sinatra, Jr., did one country album called It’s Alright, and believe me it’s more than alright—it’s a real show stopper! I like the old Nashville guys. Merle Haggard wrote some great numbers that stand the test of time. Porter Wagoner was a man whose records we looked at very carefully to try to get the right sound—you don’t want to make it sound like these assholes on the radio today who are just totally horrible. We wanted the timeless quality that you get from a Porter Wagoner—those songs are written like a story, and you’re not distracted by all the terrible synthesizers and things that don’t belong on a real home-made country record. With our record we had a great pedal steel player—the best on the west coast! He came down and laid some pedal steel. We had Prairie Prince, who is one of the biggest drummers of all time. He played with everyone from John Fogerty to George Harrison, and of course he was in the band the Tubes for many years. The guy has a great sense of humor and he can really beat those drums. These guys are as good as Elvis’ band ever was, and they’re much easier to work with. A lot of Elvis’ band members—they had their issues, you know.
Any plans for future genres?
Yeah, I did a record actually—it was a punk rock album. It’s only four songs. I did it with the Hard-Ons—they’re from Australia. I was down there doing some shows, and these guys have been around for over 25 years—pretty well known worldwide. They invited me into the studio one afternoon. We knocked out a few songs. I’m not a punk rock singer by any stretch of the imagination—I would never claim to be. But again, you know, it’s a personality record. If you brought Leonard Nimoy in with the Hard-Ons they could make a good record, too. All he has to do is put on those Spock ears and you have yourself a hit record! And that was sort of the idea here. I don’t think I’m gonna be competing with the Sex Pistols or any of those type of groups, but I do think we came out with something really special out there in Sydney.
Anything else you haven’t done?
I’ll do anything, but I probably wouldn’t try the opera because my vocal range is limited. I’m a comedian, not a singer. But hey, if you ever hear the Telly Savalas record or The Brady Bunch Sings, or Uri Geller, who bends those spoons—he made an album that is just fantastic! An untrained vocalist! It’s all about making a record that matches the personality, and then you make something that people really want to hear.
Best piece of advice for somebody traveling on the road like you?
Don’t do it! That’s my advice.

NEIL HAMBURGER WITH GUESTS ON SUN., APRIL 27, AT SPACELAND, 1717 SILVERLAKE BLVD., SILVERLAKE. 8:30 PM / $8 / 21+. CLUBSPACELAND.COM. NEIL HAMBURGER SINGS COUNTRY WINNERS OUT NOW ON DRAG CITY. UNOFFICIALLY VISIT NEIL HAMBURGER AT AMERICASFUNNYMAN.COM.

Neil Hamburger “Looking for Laughs”

Arrived late to a sparse crowd as Tom Green was just starting. Apparently there was a communication snafu between promoters and Tom because while he was billed on the website as TOM GREEN, he kept referring to himself as MC BONES. Maybe he thought the pseudonym would keep out the droves of fanboys from his MTV days. It’s kind of sad because apparently he didn’t need the pseudonym’s help–the room wasn’t even half full. But what his absent fans missed out on was their loss. His set was remarkably tolerable, fun even. Tom did a handful of minimal self-composed hip-hop tracks (some with vocals, some instrumental), all through a keyboard and sequencer that he manned the entire night. After Tom was Paul F. Tompkins. Paul has serious Mr. Show cred and a Comedy Central special, but he spent his entire set talking about his bit part in There Will Be Blood. Appropriate, I guess, since it was Oscar night; but who gives a shit? Then Neil went on stage, house music still blaring. He started his set by demanding someone shut off the “garbage music” on the PA system. He threw drinks at audience members regularly, shattering glasses into tiny shards. Topics discussed included: Domino’s Pizza, Academy Award nominee Heath Ledger, Elton John, and disgraced vocalist Britney Spears. For example: Why did God create Domino’s Pizza? As punishment for humanity’s complacency in letting the holocaust happen!

– Harry Kellerman

Devon Williams “Elevator”

SATURDAY

2/23 The Coup @ Crash Mansion
2/23 Henry Clay People @ Prospector
2/23 Lions @ Spaceland
2/23 Blaqstarr / Dave Nada @ Echo
2/23 Devon Williams (Covering The Replacements) @ The Smell

SUNDAY

2/24 Jail Weddings @ Alex’s
2/24 Neil Hamburger @ Spaceland
2/24 Holy Shit @ Part Time Punks
2/24 US Bombs @ Safari Sams