|September 4, 2015 | Photos By J.Yuenger, Recent Events Dictate, Stuffs, Travels, White Zombie
Here in New Orleans, we think of Summer as something to be endured. It’s famously hot (really, it’s the tropics! I can see banana trees out of my window), and this was the second hottest Summer on record, so you can imagine what it was like. (You can’t? Turn your oven to 125° and stick your head inside) Everyone who can leave, leaves, and this time, I stuck it out.
There was that horror movie/celebrity convention at the beginning of August (while there were some fun things that happened there, I was working, and I wouldn’t call it a vacation), and a couple of little day trips (options are limited, living as I do in geographic isolation at the absolute bottom of the country, where the nearest medium-sized cities are 5-6-7 hours away), but for the most part, I stayed put. I had a lot to do, and I guess I was trying to
punish myself prove something to myself, which is that I really don’t want to live here any longer.
Especially with the 10th anniversary of Hurricane Katrina, stories about this city – the gentrification, the incompetence, the corruption, and the crime are all over the news. Suffice to say that, for me, the draw, among a few other things, was that it was easy to live here, and you could pretty much do what you wanted and be left alone. The benefits (insanely cheap cost of living, no rules, being surrounded by art and music all the time) used to outweigh the drawbacks.
Now, they’re intent on turning the place into a demented version of Portland, albeit with lots of violent crime and broken social services. I like Portland, but if I wanted to live in Portland, I would, you know?
Anyway, to my point. There were some bright spots, this Summer. I wasn’t here very much, and I was on Instagram quite a bit. A lot has been made about the death of the blog, or how blogs are for old people, and .. no, I just haven’t been in the mood to write, and the web kind of takes the Summer off, doesn’t it? Instagram is a good medium for me. You don’t have to think much.
There’s a very nice church around the corner from where I live, which has a well-funded music program. I have recorded, from time to time, the church’s brilliant and eccentric musical director’s organ recitals, which might feature the pieces you’d expect, by Bach and Purcell, but might also include works by Hendrix, Aerosmith, and Deep Purple. The paint-and-gold-leaf design on the inside cover of the church’s harpsichord took 2 years to complete.
I worked on a film crew as a sound recorder, on a documentary about a New Orleans brass band (It’s part of this group of films, which were made to commemorate the Katrina anniversary, I’ll post the movie itself later, if it becomes available to watch). After a long and very hot shoot in a club in the 7th Ward, I was carrying gear back to the van, walking through tall grass on a neutral ground (in other places, you’d call this a ‘median’), when all of a sudden it felt like someone had poured acid on my foot. I have fire-ant scars now.
I call this one ‘The Bleeding Heart Of Kenny Hill’. Hill was an itinerant bricklayer who settled on a patch of land in Chauvin, LA (way down there in the wetlands, south of Houma, even) and, in the grand tradition of America’s loner eccentric builders (Simon Rodia’s Watts Towers, Edward Leedskalnin’s Coral Castle, Leonard Knight’s Salvation Mountain, Jim Bishop’s Bishop Castle, and the list goes on and on), created a colorful sculpture garden, full of statues of.. himself, in various states of religious torment. Here, he’s dragging a cross behind Jesus. There, he’s being comforted by angels. It’s awesome.
My friends are incredulous that I’m still working on the White Zombie vinyl box set, the idea of which was conceived about two years ago. I’ve spent the last year on it, wrangling audio (I mastered the whole thing) , digging through all of my boxes of WZ stuff for cool artifacts (like, above, this Make Them Die Slowly shirt, which Rob and Sean gave me the first day I met them, and which I wore on my first tour with the band, Summer 1989), writing down everything I can remember (this was from notes I made for the box, and so was this).
We’re on the final step, they tell me, which is editing various interviews (not just with me and Sean and Rob, but Ivan, Tom 5, and various other people who are part of the story) and pulling it all together into something everyone can agree on. I’ve got the test-pressings (5 discs, plus a possible sixth, everything sounds really good), and I’ve seen the mock-up of the hardcover book which will be included (beautiful, packed with high-quality photos). We’ve put a lot of ourselves into this thing, and I hope you get to hear and see it soon.
Here’s the “3D gold with blood splatter” vinyl variant of the soundtrack LP of Starry Eyes, which is a very cool 2014 horror film. The record actually looks like this, but if you hold it up to the light, it turns into something more like blood blobs on a clear microscope slide. When I started this site, I was deep into recording and engineering, and that isn’t the case at all anymore. I haven’t made a record with a band in a couple of years, and I’ve somehow become an audio engineer who prepares recordings for pressing on vinyl.
The label I do this for most often is Waxwork, issuer of horror-movie soundtracks and scores. Not only do I work on music from movies from the recent spate of fresh, inventive, and quite scary films, like Starry Eyes and Babadook, but on many of the classics I grew up with: C.H.U.D., Friday The 13th, Rosemary’s Baby, Creepshow. Often, the music from these motion pictures was originally released in a highly edited form, or not at all, and I get to go back to the original tapes and pull something new together. It’s pretty cool.
Des Allemands, LA. Drive-through daiquiri shop, with a blue gorilla in front. What can I tell you about this? Whenever I spot one of these old-time (late 50s-early 60s, America was covered with concrete dinosaurs, alligators, gorillas – enticing motorists to pull over, take photos, and buy stuff) roadside cement creatures, I turn around and check it out. It’s always fun.
The drive-through liquor store has a long and convoluted history in the deep south. Here’s the current loophole that allows you to purchase a big slushy cup of high-fructose corn sweetener, chemical dye, everclear or 4 different kinds of cheap rum to be consumed in your car : the lid of the cup has a straw in it, and the top of the straw has a torn-off part of the straw’s wrapper on it. Thus, the drink is ‘sealed’, and you’re, of course, committing a grave crime if you remove the wrapper.
By the time I was a senior in high school, I’d managed to finagle a schedule that was nearly all art and writing classes. First period was ‘graphic arts’, which was a vocational class where I got to use a printing press, silk-screen t-shirts, and develop photos in a darkroom. My friend Dread Scott (back then, a kid from my neighborhood, now a famous artist), was a photography student at the Art Institute of Chicago, and was able to check out fancy, professional large format cameras – which he shot punk shows with. I didn’t have a camera of my own, so Scott graciously lent me his negatives so that I could learn to print. I was recently going through boxes of teenage stuff and I came across two prints I made of Samhain, from their gig at Smart Bar, Chicago, December 2nd, 1984 (one of 2 times I saw the band).
Es el final del verano. Gracias a dios.