Dave Quick had told me about Elvisfest several years ago,  but I was unable to attend until this year.  All of Dave’s events are top notch,  so I knew that it would definitely be worthwhile, even bravign colder than usual weather here.   Finding the venue was easy, and while parking initially appeared so bad that I was All Shook Up,  I was very lucky.    I entered the hotel in the middle of the Straight 8’s set, and there such a crowd by the band that I was unable to get close enough to take photos.   But even from the back, there was no question that they are very good.   The first few songs I heard were proof that there would be some Good Rockin’ Tonight.  The Stages were aptly named Heartbreak Hotel and The Jungle Room.

The crowd was a bit different from Heavy Rebel, but everyone seemed friendly and the focus was clearly on just having a good time.   The crowd seemed to about an even mix of Rockabilly types, Elvis fans, and regulars.At unfamiliar events, I tend to hang back a bit and observe for awhile, and I found a nice spot right beside the jukebox.   Coming down the steps, a rather cute girl stumbled and nearly fell on top of me.   When I asked her if she were OK, she appeared to think it was a come-on, but really it wasn’t, and fortunately she seemed none the worse for her near fall, so I thought That’s All Right Mama.   Richard of the Bo-Stevens came by and said hello.  Greg admired my T-shirt, which incidentally happened to be a B0-Steven’s shirt!

When The Straight 8’s great set ended I immediately  headed to  the stage to make sure I had a front row spot.  A few minutes later the Bo-Stevens began setting up, and when they began playing it was hard not to Shout It  Out. First,  they did Homage to the King with  a rousing cover of “Blue Moon”, followed by “Burning Love”, and “That’s All Right/Mystery Train”.    To my delight, they soon launched into one of my favorite songs of all time,  the Bo-Steven’s own “My Baby Got Gone”.    Performing songs from both “Can’t Never Could” and “A Little More Road” such as “12 Ounces”,  “One More Town”, “Stop” and “Saturday Night”, as well as  classic ’50’s  numbers like “Little Sister”, the Bo-Stevens proved once more that with  this kind of music, Any Place is Paradise.  Richard played with his usual flair and energy, while Greg’s guitar strings were  smoking with blistering chords.  The versatile Jeff  added harmony, and put the pedal to the metal of his steel guitar.  Can you really have this kind of music without a little mandolin?  Nope.  Meanwhile, the Reverend slammed the drums like Judgement Day was dawning, while Daniel slapped the double bass with serious aplomb.  It was time to seriously Rock- A-Hula, baby.    Just when you thought it couldn’t get any better,   Richard invited the talented John Howie, Jr. to the stage.  The Bo-Stevens set ended all too soon.

Between bands the DJ  put on a 50’s extravaganza while several couples began swing dancing, and everyone had a generally good time.  Next up was Killer Filler, with their roaring mix of Surf, Soul, and Rock N’ Roll.   How Can You Lose when add a little Cha-Cha to the mix?  Soon Killer Filler had he audience dancing like we were in trh tropics instead of the middle of the coldest spell of the year.

I wandered out to the Jungle Room, where the immediate drop in temperature reminded me that we were indeed far from the tropics, but with the incomparable John Howie, Jr, and the Rosewood Bluff on stage, the chill was soon forgotten.   Everyone was putting some serious mileage on their Blue Suede Shoes, while John Howie and his crew laid down some serious high octane country, underground style.  The crowd was very forgiving when I weaved my way to the stage to take some pictures. On the way I ran into Dave Quick, who was as solicitous and  affable as usual.    John Howie Jr and the Rosewood Bluff have some of the most energetic fans around, who were clearly thrilled to see the band.  I thought I recognized one of the girls who was right in front of the stage, but I was not sure, until John called some special guests to the stage, none other Richard Boyd and Billie Feather.   The girl was indeed the talented Billie Feathe, lately of the Bo-Stevens and currently a member of the simply amazing Darnell Woodies.  John Howie and friends brought the set to a rip-roaring finale that insured no one in the audience was standing still.

Afterwards, I spoke at length with Billie, who is certainly one of the nicest pople in the local music scene as well one of the most talented.  She introduced me to John Howie, Jr.  who is also very friendly.  I look foward to seeing them both on stage again.

Afterwards I made by way to the even more frigid parking lot, and the thirty something odd miles home.   David Quick kas once again put on a truly enjoyable  event. Even is Elvis isn’t your Teddy Bear, you are sure to have a good time at Elvisfest.  Due to a malfunction I was regretfully unable to get any video footage, but I hope that the pictures give some idea of this fine event.

I was there! (Thanks, Billie.)

Over the past couple of years it has become fashionable in certain Goth and Deathrock circles to criticize Steampunk.   On a prominent Deathrock forum,  Steampunk was recently characterized as “silly” and “stupid”.   I find it curious that members of a subculture who have always chided the Mainstream for being “intolerant” can be so intolerant themselves. Deathrockers and Goths love to portray themselves as being “individualistic” and “nonconformist”, yet in cases like this they are remarkably disdainful of those who not conform to their standards.   In effect, these people have become exactly what they claim to despise:  intolerant conformists.

On that particular forum, the primary complaint against Steampunk seemed to be concerning the music.  Steampunk was  derided as somehow not being a valid subculture, because its music  “is already covered under other genres”.   These  critics of  Steamkpunk apparently do not  understand that Steampunk is not a music subculture.  Unlike the Goth and Deathrock “scenes”, music is not the definitive factor of Steampunk.   Steampunk is a visual subculture.  Music is strictly secondary, being simply something to add to the mood at social events.  As Joshua Phieffer of Vernian Process says,

“…[T]here is no defining element to Steampunk music. Steampunk music is different to every individuals interpretation of it. The only true definition could be; ‘Music created by Steampunk fans, or music that Steampunk fans find invokes the atmosphere they expect from a Steampunk setting or aesthetic‘.”

To the Deathrockers who recently sneered that Steampunk music is already covered by existing genres, yes indeed!   It’s covered by everything from Ragtime to Goth. And therein lies the beauty.  While a few bands do call themselves Steampunk bands, this is usually in more of an aesthetic and philosophical sense more than an attempt to create a new musical genre.  An analogy might the way that  different bands toured with the Grateful Dead and became part of Deadhead culture, but were nothing musically like the Grateful Dead.  DJs  at Steampunk nights spin songs that simply that fit in with the atmosphere.  Personally, I find Frightdoll’s “Endings” and the Darnell Woodies’ “Booger” eminently suitable for a Steampunk event.  But these  are certainly not “Steampunk” bands,  and might even be horrified at the suggestion.   At The Clockwork Ball, hosted by the talented Davenport Sisters, of course you will probably hear hear Vernian Process and The Unextraordinary Gentlemen.  You might hear Rasputina, The Squirrel Nut Zippers, the Decembrists, and Jill Tracy.    You might hear Classical, Jazz, or Darkwave.    But it is the song that is important, or rather, the feeling that the song invokes, not the “genre” of the artist.   Indeed, someone can be a Steampunk aficianado and not listen to any particular music at all.    This is where Steampunk differs from music subcultures.    It is especially ironic to hear Deathrockers bash the Steampunk subculture on musical grounds, when a couple of the most prominent Deathrock “models” are not fans of  Deathrock music!

Apparently, people are trying to make Steampunk fit their own notions of their own scene.   A couple of years ago on the same forum, one  Deathrocker sniffed something to he effect that Steampunkers are just LARPERS in top hats and goggles.    Well, I’ve known far more Goths who are LARPERS than I’ve ever met in the Steampunk scene.  So what?  The implication that Steampunk is somehow contrived and devoid of real substance is a charge that was leveled at most burgeoning subcultures.  Let’s be real: Steampunk is no more “silly” than  than Goth or Deathrock.  This is the pot calling the kettle black, so to speak.  It is truly ludicrous for one such subculture to be bashing another.

Steampunk is not Goth. It is not Deathrock.  It does not try to be.   So what is the problem?  All three of these have far more in common with each other than they will ever have with the Mainstream.  Instead of bashing people who are trying to be different, why not show a little of the same tolerance that you want the rest of the world to show you?   Or at the very least, bother to find out a few facts before you trash something out. A few places to start might be here:

http://steampunkscholar.blogspot.com/2009/06/steampunk-pastiche-elements.html

http://www.tor.com/index.php?option=com_content&view=blog&id=58014

http://brassgoggles.co.uk/blog/

Held Oct. 29-31st 2009 at the elegant Mansion 462 in downtown Chapel Hill, NC the Eccentrik Festival VI “The Mariner’s Revenge”   upheld its six year tradition of hosting a truly underground event “by the scene for the scene”.  Last year, I was only able to attend a single night of this outstanding event, but this year I enjoyed two nights of excellent music, DJ’s, and company.

On Friday Oct. 30th, I arrived on Franklin Street, the main cultural artery of Chapel Hill and nearby UNC, shortly after Mansion 462 opened its doors. As always, the staff of Eccentrik and mansion 462 were friendly and welcoming. As it was sometime before the bands began, I spent some time talking with Emmett and Klaude Davenport, the energetic and eminently capable organizers of Eccentrik.  To my surprise, Brad, the congenial owner of Mansion 462 recognized me, welcoming me back to the establishment.  Wandering through the crowd unwinding a bit after my journey (traffic on I-40 on a Friday night brought back shades of Miami),  Soon the dashing host and MC, Mister Kantrip, officially began the evening’s musical festivities with his own inimitable brand of humor.  The lights dimmed, and The Extraordinary Contraptions took the stage.  I had never seen The Extraordinary Contraptions before, and was truly astonished at the musical mastery and stage present of the band.   Any band with a double bass automatically gets a few points in my book,  but this was a mere premonition to what was soon to transpire.  With Aelus Kristof von Stadberg on guitar, Dimitri von Stadberg on bass, Corbin Able Welch on percussion, and the most lovely Sephora Bostwick on keyboards, The Extraordinary Contraptions performed material from their future classic “Inappropriate On Purpose”, as well as their upcoming CD.   Not only are they musically adept, but they are very friendly.  I must have annoyed the band mightily after their performance, but they took it in good grace and we had several very conversations about the band, and music in general.   Their fashion sense is superb, too. Sort of like the Wild West meets Dr. Who.

Then Lemming Malloy took the stage.  As you may have deduced from my reviews, I consider Lemming Malloy one of the key bands, and perhaps THE key band,  of the talented musical scene centered around the Triangle area.   They are amazingly versatile, and as usual their set was fantastic.   The Two Man gentleman band from NYC was next, straight out of the Roaring Twenties, or at least, how it should have been.  Andy Bean and Fuller “the Councilman” Condon delivered a rousing, rip-roaring performance of demented dixie-land, hot jazz, and a non-stop repartee that was as entertaining as the music.  They are not afraid to veer into the risque, or actually, crash and burn into the risque.   Oh, did I mention they play kazoos?   After the bands finished, I spoke briefly with Unwoman and various others in attendance.  All agreed it was a wonderfully entertaining evening.

I was afraid that the trek to downtown Chapel Hill on Halloween would be rather traumatic with Franklin Street closed to traffic , but this was not the case.  It was a short walk from Carrboro, which was rather pleasant and a nice way to see the Halloween crowds.  I again arrived somewhat early at Mansion 462, and spent some time observed the clientele.  Fashion ranged from the the expected Steampunk attire to elaborate Halloween costumes,and some people were in street clothes.  All mingled freely and there were not visible boundaries, as in so many clubs and events.  I chatted pleasantly with Emmett before she turned her attention to the turntables.  Between the bands, she and her DJ’s kept the crowd moving.  At one point during the night I was thrilled to hear my favorite song by the Squirrel Nut Zippers, “Suits Are Picking Up the Bill”.   The evening began with none other than Roberto Cofresi (of the New Town Drunks), a one Pirate act of pure nautical intensity.  With ballads, sea chanteys, and songs of undetermined origin, Roberto unflinchingly steered the good ship Eccentrik out of port and  into the wild unknown.  Towards the end of his set, I was itching to request “Spanish Ladies” or “Health to the Company”, but I could see he was in dire need of a dram or three after his musical exertions.  There appeared to be a small technical difficulty setting up the stage, but this turned out to be an unexpected blessing.   None other than The Extraordinary Contraptions quickly set up near the front for an impromptu second performance and completely acoustic set!   The lines between audience and band were blurred as they played nearly among the audience, with passersby peering in the door and windows , as Eccentrik-ites wandering freely about.  One of the extraordinary things about The Extraordinary Contraptions is that not only are they most proficient with their instruments of choice, but they are fine vocalists as well.  Aelus, Dimitri, and Sephora all took the lead vocals during the set, as they had done the night before, seamlessly moving through their excellent repertoire.   Sephora’s melodica lent an enchanting, and vaguely nautical air  to the festive set Too soon, the Extraordinary Contraptions, finished.  If the evening had ended right there, it would have been a memorable Halloween.  And yet, there was more to come!

None other than cellist extraordinaire Unwoman was next.  With exquiste vocals and cello backed by occasional electronics, Unwoman gave a mesmerizing performance.  I was very pleased to see, or actually, to hear, that her electronic backings are usually very minimal. They do add depth on some tracks, but are not overpowering.      This is in stark contrast to some other bands who, while they are skillful string musicians, their music ends up being mainly Industrial/Dance with some classical elements thrown in.  Unwoman, on the other hand, showcases her  superb cello and voice.   She played a range of pieces from throughout her career, including her marvelous cover of Chris Isaacs‘ “Wicker Game”; “haunted”; “Survivial“, and the intriguing “Witchwife“.  “Witchwife” is the the poetry of Edna st. Vincent Millay set to music, from Unwoman’s album “Blossoms”.)   Unwoman left the stage all too soon.  Next was Durham’s own “Veronica Diabolique“.  Looking dashingly deathrock, Veronica Diabolique gave a smashing performance that soon had the audience dancing.  With a strong post-punk sound that also incorporates deathrock and gothic elements, Veronica Diabolique fittingly performed The Cure’s “Three Imaginary Boys” in a manner that was much more than a mere cover. They also performed “Breathe” from their 2007 EP “Cafe Solitude”.  Dark, yet energetic at the same time the music of Veronica Diabolique is laced with allusions and references to literature, which I enjoyed immensely.  If the Symbolists had formed a Goth band, they would probably have sounded a bit like this!  The evening concluded with the inimitable Vernian Process, fronted by Josh Pfeiffer, who needs no introduction in these quarters!  Ranging up and down the musical spectrum like aural marauders, Vernian Process gave an exciting, blistering, performance that the audience will not soon forget!  They were  joined on stage by Unwoman, who lent an added sense of grandeur to the  occasion.  Joshua ran amok with his empassioned vocals, while bassist Janus literally leapt among the audience. For a moment, he  actually disappeared.    Ash left the audience Dazed and Confused with his versatile guitar work and bawdy bowmanship.  Vernian Process gave their all, and were visibly exhausted as they left the stage much too soon.

Coming from as far away as South Florida, attendees generally agreed that one of the great things about Eccentrik is the sense of camaraderie.  Apparently the laid back attitude of DJ Mouse, her staff, and her regular patrons, rubs off.   “I’m not really into the Steampunk thing”, admitted one patron, “but everyone is always friendly.”  His girlfriend added that whenever she attended Eccentrik and the Clockwork Ball, people would always speak and be sociable, but sometimes she would see the same people at Goth events in the area, and they would appear not to recognize her.   I did run into a couple of people who seemed to be migrants from the regular club scene.  They were not exactly unfriendly, but did exude a rather frsoty and condescending air that I know well from certain Goth/Industrial clubs. Their offhand comment that they had never been to “anything like this” explained it.  Hopefully they will return, and join us on the…Steamside.

People who assume that a Steampunk themed event will feature little more than  boring  music based on stale Victorian affectations could not be more wrong.  (I seriously wonder if some of  these critics have ever actually attended a Steampunk night.)  The music at Eccentrik was richly varied.  Fans of such diverse genres as Deathrock, Industrial and Classical can find something to enjoy. (See my article on Steampunk and music.)   Eccentrick is  about attitude, not affectations. An attitude is of simply having fun.  Patrons who were dressed to the nines mingled freely with others in their street clothes.  I have seen small Goth shows were the bands played and left immediately, but such was not the case at Eccentrik. The bands were as accessible as the DJ’s, who did not sequester themselves in the DJ booth like some DJ’s,  but spun right alongside the dance floor.  DIY is the order of the day, and no preconceptions or judgements are visible.

Even if nothing else, Eccentrik is a welcome change from the usual club fare.  From Chicago to Miami, it’s easy to find weekly Goth/Industrial nights that play pretty much the same music,down to the BPM.  DJ Mouse and her tireless entourage have  worked very hard to produce an alternative, and a fine one it is.     Everyone enjoyed the music and company at one of the most unique events in the US.  DJ Mouse has deliberately kept Eccentrik at a level that is conducive to the true underground spirit.  I am greatly looking forward to Eccentrik VII.  Hopefully, by then I’ll a decent camera that can capture even more of the fun and excitement that is Eccentrik. After all, you can’t go wrong with Mouse in the House!

On June 13th, 2009 I finally attended Dracula’s Daughter, the NC Triangle’s longest running Goth/Industrial night,, which was held at Mansion 462 in downtown Chapel Hill, NC. This was my first opportunity to attend Dracula’s Daughter since my return to NC late last fall. Hosted by DJ’s Mouse, Mephi, and Poe, Dracula’s Daughter features “an eclectic mix of goth, industrial, ebm, synthpop, new wave, dark wave, ethereal, punk, psychobilly, 80’s and other related musical genres.”

I have already remarked upon the fantastic décor of Mansion 462, so I will not go into detail here. If I had to sum up Dracula’s Daughter in two words, I would say, with no hesitation, “friendly” and “fun”. This is the essence of Dracula’s Daughter. In this respect I am very much reminded of clubs which I attended back in the ‘80s. Like them, Dracula’s Daughter has a variety of music. There is a little bit of everything, a much wider mix than you usually hear at Goth/Industrial events. The usual fare at nights billed as “Goth/Industrial” is a scattering of classic Goth songs early in the evening, followed by hours of mind-numbing Industrial Dance, each song with an identical “doosh-doosh-doosh” beat. This is not what I remember in Ye Olde Days at all. I remember a variety of music catering to all the various sub-genres in the “dark” scene, with things like New Wave and Psychobilly thrown in. You could dance to your favorites, and socialize during the rest. No one was uptight about “packing the dance floor” from dusk ‘til dawn. Dracula’s Daughter brought back quite a few memories.

A very striking feature of Dracula’s Daughter is the sheer unpretentiousness of it all. Especially since the turn of the Millennium, the “Cult of the DJ” dominates. The DJ is publicized and promoted, but not the music. The DJ rules the booth with an iron hand, and woe be to the poor soul who is impudent enough to actually request something different. In many clubs I have been astonished by the little coteries of sycophants and scenesters waiting snobbily in the wings to genuflect to the mighty DJ when they descend from their lofty throne to mingle with a few select mortals.

Refreshingly, this is not what you’ll see at Dracula’s Daughter. I had not met DJ Poe before, yet when he finished his set I introduced my self and we had a delightful conversation about music and the culture in general. (I contrast this with a certain South Florida club which I patronized for years, without getting so much as a nod of recognition from the owner/DJ.) DJ’s Mouse and Mephi are just as approachable as Poe. It is obvious that for all these DJ’s, it is truly about the music, not about egos. The same holds true for their other event, The Clockwork Ball.   DJ Mephi led the conga line through the club after her set! 

More importantly, the patrons were just as friendly. There was none of the usual local Goth “aristocracy” sizing you up when you walk in the door and then waiting to see who you spoke with before either A) gracing you with a kind word or two, or B) snobbing you off. Everyone at Dracula’s Daughter seemed to be there to have fun, which is the whole point of a club night. In this respect, it reminded me of the famous Release the Bats in California, which I was fortunate enough to attend a number of years ago. (I spoke with Dave Bats for 45 minutes before I realized who he was!)

At Dracula’s Daughter, it was a delight to see so many people elegantly dressed, but this was not a prerequisite, as everyone mingled regardless of attire. I even wore my infamous top hat, for the first time in ages. (Thereby hangs a tale, as Long John Silver would have said.) And there were several more toppers in attendance as well. The whole point to dressing up has never been about elitism, as some critics maintain, but of putting yourself outside your day-to-day world and giving rein to your creativity and imagination. Yet, it’s your choice. Whatever you may wear, if you appreciate the music we have something in common vastly more important than fashion. Last but not least, parking is easily available. In addition to the parking along Franklin Street, there are number of places close by to park.

In summary, Dracula’s Daughter is a fine event in keeping with the original spirit of the original days of our subculture. If you are in the area, by all means come out. If you are just passing through, it is well worth a stopover. DJ’s Mouse, Mephi, and Poe amply demonstrate that they have the right combination for a most enjoyable foray into the Dark Side.

You may remember the story of Jammie Thomas; she was the woman convicted of sharing 24 songs on the internet via KaZaa, and sentenced to pay $222,000 for the violation.  She is currently facing a retrial, after the judge trying the case realized that the Recording Industry Artists’ Association’s (RIAA) jury instructions were based on a technical lie, which resulted in the unusually harsh sentencing.

While the case against Thomas is solid – she shared files and was caught – what makes this retrial unique is her new legal council, and the line of defense they are taking.  Her current legal council is Kiwi Camara, a student of Charles Nesson – a high-profile Harvard Law professor.  The RIAA has long put off sending thier questionably-legal “John Doe” subpoenas to Harvard; many people have suspected that someone like Nesson is the rationale for this.  As a good legal rule of thumb, it’s not in your best interests to pick a fight with the best legal minds in the world, especially when they have a chip on thier shoulders so large that they’ll work pro bono indefinitely to undermine your work.  Camara and Nesson have both spent the last month establishing the fact that that chip does exist, and that their intention is to decimate the RIAA using the copyright law the way it was meant to be used.

Read More… How File-Sharing May (Accidentally) Save Music