Jen and Nate plus GREAT!

By: Jacob Calle



Jen and Nate are aerialists who travel the world doing what they love, and this is performing acrobatic stunts that leave glorified. So why pay full price when you're only going to be sitting on the edge of your seat?

Jacob: So lets start where we met. You guys bought a trampoline, came to Texas for the Americas Got Talent show, and from there I thought that I'd never see you guys again, but then i see you at the Britney Spears concert being a part of her "circus" tour. I am in my seat and i was blown away when I saw you! So how'd you become part of her tour? (note to readers: I just happened to be near the Toyota Center when a girl came up to me and asked me to join her since she had a extra ticket. I ditched my friends. And yes, it was pretty good. hahaha)

Jen and Nate: We had been working together for two years creating our trampoline act & silk act. We also had been training & conditioning almost every day, in addition to marketing ourselves. Throughout the two years of being partners we have created our own company, Jen & Nate LLC, we have created our own official website complete with pictures, videos, & Jen & Nate merchandise. In the beginning, we were very familiar with rejection, but when you knock on a hundred doors, one is bound to open.

In January of 2009, Nate got hired as an aerialist on the Britney Spears Tour, he of course accepted the offer, I was devastated. Nate assured me that he would make this tour work for us. He was hard at work while on the tour promoting our videos to everyone. I would then fly out often to meet the cast and show that I was actually real! Six months after Nate joined the tour, I finally became a member of the Britney Spears Tour! This story proves that perseverance pays off!

Jacob: You have now traveled all over the world demonstrating your performance! All those shows I'm sure are all rehearsed and all the same right? Any special shows that stick out that was your favorite?

Jen and Nate: Even though we were performing the same act on the tour, every show had it’s unique qualities. We were always pushing to improve. We strive to fly higher, hit music accents harder, smile bigger, & connect with our audience more.

The show’s that were the most special to each of us were when our family & friends were able to come watch us. To have your family & friends be a witness to one of your biggest professional moments was amazing and crazy at the same time. In certain cities it would get chaotic to arrange tickets & seats for 50+ people. One of our most challenging shows, Nate had a fever pushing 105’. Symptoms included, uncontrollable shaking, sweat pouring from his body, & extreme nausea. Britney’s management had already cancelled us out of the show that night, but we were determined to perform. We have a picture of a Dr. giving Nate a shot in the butt, an IV in his arm, while on the phone negotiating with Britney’s management. They eventually allowed us to perform, & ironically it was our best show!

Jacob: You two fell under the spot light rather quick. Did you have any notion that this fame would come?

Jen and Nate: Yes, we knew the fame would EVENTUALLY come, but it didn’t come quick or easily. I had been involved in tumbling for seven years in my youth. Nate had been performing for 11 years, with an additional 20 years of gymnastics experience. While working together we hit additional road blocks that average entertainers don’t face. It was years of training & our confidence that eventually put us in the spotlight.

Jacob: You two are very inspiring people. I see you as a girl with a lot of capabilities. What do you have to say to people who also don't have legs and putt around in their wheelchair watching TV?

Jen and Nate: I would give them the same advice I would give anybody else. We all have capabilities that need developing.. As long as you’re able to set goals and strive for them, you’ll lead a happy & rewarding life.

Jacob: So now you are doing this as a living. How did you meet you two meet?

Jen and Nate: I was working at Disney World. I would be watching the shows thinking I can do this, I just need someone to teach me! I would talk to one of my managers and tell her how I had a passion for getting back into some form of gymnastics, she suggested I meet this guy, Nate. We met face to face, but I had no opportunity to show him any skills. Unbelievably, he believed everything I told him I could do. He was leaving on a tour and would be gone for three months, we started our training over the phone. When he returned three months later, I was finally able to show him what I could do in the gym.
Image and video hosting by TinyPic

Jacob: With all this success you have done this without legs. I'm assuming you do not consider yourself handicapped right? Because when I look at you I see you doing things that I can't even do. Are there any times where you are like,"Shit, I can't do that."?

Jen and Nate: Yes, there are times when I might think I can’t do something, but it’s no more than the average person. If there is something I want to do, I will find an alternate route and make it work.

Jacob: And that is amazing! And that's what I love about you! So you play baseball, volleyball, surf, dance, flip, jump. When are we going to see you skydive?

Jen and Nate: It’s funny you mention skydiving! I’ve been planning on taking the plunge now for about a year. I’m sure there will be pictures soon on our website!

Jacob: Well I can't wait to see them.There are people like you and Aaron Fotheringham who has Spina Bifida and can do a back flip on a ramp in his wheelchair. Why do I feel like the one right now with the disability?

Jen and Nate: Our goal is always to help people, sometimes people have barriers in their mind that prevent them from reaching their goals. We are trying to wipe those away. These barriers are what sometimes makes people feel disabled. In our performances we want to help our audiences remove these barriers.
There you have it, Jen and Nate. In words by Andrew W.K. "Never let down". Two very inspiring people that I know will give people faith and hope. I am happy to know them. For more information on these two whippersnappers check out their site below for more interviews, videos, photo galleries, and news. Thanks!


www.jenandnatesite.com

Sound + Movement = Sandy Ewen & Y.E. Torres

By Anna Garza

Sandy Ewen and Y.E. Torres are musical explorers of the vast unknown. A guitar and belly dancing duo who dare to cross uncharted territories without a compass for guidance and disregarding boundaries along the way. Accomplished artists in their own right: Sandy plays guitar in the Austin based band, Weird Weeds, and YET is a mixed media artist, muscle dancer and costume designer. Together, they are allies on a voyage to a brave new world. I had the opportunity to chat with them during a break on their epic journey.

FPH: State your name and what you do in this project.

YET: I am YET - Y.E. Torres. Ms. YET. I am a visual and performance artist. In this project, I dance. I am a muscle dancer.

Sandy: I am Sandy Ewen. I play guitar in this project. We improvise. We compose music together and it's more of a performance than a piece of music.

FPH: That was a segue into what I wanted to ask next. How would you describe what you do to someone who has never seen you?

Sandy: I always get weirded out by trying to describe stuff, like - I got on an airplane back from Mexico and I was talking to some guy about music. It is really weird because normal people don't have a context to what we do at all. I’d say I make sounds, I’m not playing a steady rhythm or necessarily in a tonality. Some of the things we do, I’m playing in a key of some sort but sometimes it is really atonal and it's just textural.

YET: I think when we first started writing about what we do; we did it very simply and said, "Sandy plays a loud racket on the guitar..."

Sandy: ... a terrible racket.

YET: A terrible racket. Sandy wrote it. We wrote it together, actually... "Sandy makes a terrible racket on the guitar. YET dances." Basically, what we do is a live improvised performance of belly dance and guitar. My body becomes an instrument. We are reciprocating, leading, giving, taking, forcing, pushing and it is a live performance that includes movement and sound.

FPH: How did this idea come about?

Sandy: I had a solo set, um...

YET: A Signal to Noise show.

Sandy: Yeah, right after that Jandek show... where you at the Jandek show?

FPH: Diverseworks?

Sandy: No, not that one...the second one. After the first Jandek show at Rudyards, I had a concert at Avant Garden later on that evening.

FPH: Oh, so this is a fairly new project. How long have you been collaborating?

Sandy: That happened back in March of last year, I think. Then we started practicing a couple of months after that. After I did my solo set, it was pretty short, some people couldn't figure it out and some people were asking what I was doing so I played some more.

YET: Sandy kept playing and I started dancing.

Sandy: YET jumped up on stage. It was an informal after show "show".

YET: I have already been dancing to non traditional music as a belly dancer. You know being exposed to experimental/avant garde/improvisation, I just started to develop a taste for it and started to belly dance to Sun Ra. Sandy and I are in the same music scene, go to the same events, we have the same friends. I really wanted to start dancing to this. The opportunity came up when Sandy kept playing at the show and I started dancing. We always make opportunities happen.

Sandy: We realized that it would work.

YET: Yeah, and then I was curating a monthly show at Avant Garden with the belly dance Tuesday nights. I asked Sandy to do it with me and then we started rehearsing and we started actually having practices. Opportunity keeps coming up and it's our favorite project.

FPH: How do you feed off of each other live? How do the ideas go back and forth when you perform?

Sandy: I watch YET and what she is doing. Usually... it's really interesting because it's not like playing solo at all. It's like improvising with another musician.

YET: Then again my instrument is my body.

Sandy: When I tend to do a solo set, it kinda tends to...

FPH: Is it the movements? The beat? What is it that you are trying to express? What is the goal?

Sandy: If there is a goal, we try to keep it mixed up. There are certain things which are easy to do which is like give in to a nice groove or sound... that is kinda boring- I mean, it's not boring, it is great but the key to making this project more than just the same thing over and over again...it is to keep experimenting with different sounds and different ways of interacting. When we were running rehearsals regularly, we would do all these different exercises. We have the next couple of rehearsals planned out with things we want to try out - like different ways of interacting. We want to try out pieces where YET follows me or I follow her or pieces with a different pacing. We've been returning to this one concept piece called "Running through Rooms" where we think of a space you can create between two people interacting. The idea is to find that space, develop it, look around and see what it is like it then skip on to the next one. It is like a series of short pieces and if you conceptualize it and you know that is what you are doing, it is easier to stay focused. It is improvised but sometimes it is more of a guided improvisation. Usually we have a set list. We will say the first piece will be a series of rooms; the next piece will be a chalk piece, which maybe signifies a certain sound.

YET: When we perform I am listening to Sandy. I am also watching Sandy and Sandy is watching me. We have done different things with this project. I’ve danced on the radio on KTRU. Sandy and I are very conceptual and we are both open to poking the viewer. This project is pushing boundaries of what is creating what and movement and sound is like. For example, I am a belly dancer but I belly dance in the music scene because I belly dance with Sandy. We were in the Low Lives performance where we were projected in three different galleries simultaneously and doing a private performance at the same time. There are all these parallels of movement because Sandy's hands are moving in a certain way and her body is interacting. I am not making any sound unless a piece of jewelry is doing it but my breath is always making a sound. We have gotten further in working together and there have been things that have come out. Certain sounds we embrace like we have one called "Motorcycle Sound". One we call "Chalk Piece". I know that as we keep working together we start to create our own language. Our friends who are musicians, for example, have started to see me as a musician - and that is one thing really intense dancers are always talking about: the body is the instrument because I’m using muscles in a certain way. My stomach can go like this while Sandy is doing that or Sandy’s hands will make a sound and my hips will kind of accentuate that movement. It wasn’t until I saw a video of us, I think we both knew that it made sense and we liked it.

Sandy: We knew it was working. We would look at the video of it and be like, oh all these ideas, all these concepts we had thought are working. It actually comes across and it is nice.

YET: The thing, too, is that we don't have any models to go by. I recently found out about a belly dancer who danced with Borbetomagus – which is a noise band in New York and they sent me a flyer. I have never heard of an avant garde belly dancer. One thing that is really interesting is that Sandy has been, for a long time, the only girl in the Houston improvisational scene, probably Texas.

Sandy: I don’t think that is totally fair but, yeah.

YET: It may have changed recently but to a certain extent.

FPH: You have mentioned you are constantly monitoring each other's sounds and movements on stage. Does that create tension or uneasiness or is it something peaceful and cohesive?

Sandy: I think we are pretty comfortable with it.

YET: I think emotionally, yeah. But in terms of the sound, it depends on the music. Who is to say we won't go to a place that might be conflicted. Ultimately, we are still improvising so there is no set thing and we still need to find an ending. It doesn't always work and sometimes it does. We may not feel the same way after a piece has been made.

Sandy: It is feeling comfortable with duration. It is hard to know how long things should be and to judge time. You are playing in front of people and there are expectations about how long a set should be and how long a piece should be. It is not like I want to play into people's expectations but at a certain level you want to get through all these different things and places.

YET: Another thing, too, if we take everything we have done so far... we have dealt with different audiences and have approached them- even though we aren’t doing the same thing.

Sandy: We challenge them. The people who go to the improv shows, you can play weirder stuff for that. But we are going to be doing the belly dancing show and I am going to try and keep my sound palette to something that is less than completely abrasive.

FPH: Speaking of audiences and pushing boundaries, do you ever want to play to a non improvisational crowd? Maybe play with a rock band?

YET: The next show we are playing with belly dancers. We are going to be the weirdest thing there.

Sandy: We did Westheimer Street Festival and plugged in to the side of La Strada.
YET: We did it along side another dancer and guitarist.

FPH: How was the crowd reaction?

Sandy: People were into it. People would watch us for a little bit and move on. We never had a huge crowd of people staring at us.

YET: We did have one wave that came in. One of the things we talked about was me, who was half naked, well not really half naked but, with belly dancing, there is a lot of mid section exposed. Then Erin Joyce, who is a modern dancer, was wearing a t shirt, a black leotard and hot pink tights. She didn’t wear shoes so her tights were tearing up. Visually it was like, what the fuck is going on? And of course we did it renegade and just plugged in and went for it and it just worked. It wasn’t like we were in this particular space and we were aware.

FPH: I would think it would be pretty difficult with the drunken, raucous crowds.

YET: We were super aware...

Sandy: I don't think it was the most focused of sets. We were doing it as a quartet the whole time so it wasn’t totally what we do. We were there presenting something that was totally different than anything else that was going on. There I was sitting on the ground in a parking lot with my guitar on my lap, plugged into an amplifier that was plugged into an extension cord that was plugged into a building that we have not talked to, playing with a pet brush and pieces of chalk and screws and all sorts of metal I found in the parking lot.

YET: And Erin is doing these big lifts and her legs are up. And there was one point in time when this kid ran up and he started going like this- emulating belly dancing moves. We started picking him up and carrying him around and I think he was just happy to be touched by a girl.

FPH: What I think is so radical about what you are doing is breaking down preconceived notions of what music or performance should be.

Sandy: I think some people are uncomfortable because they are not used to seeing half naked ladies and it is a noise show. So, on one hand, I am not a noise musician but it is on the noisier side of things. There is this dancer that I need to do what I am doing, because my solo sets are more linear, and with something to respond to, work with and create something together. The sound is completely different than a solo set so I think it is required. At the same time, there is this improv audience and more conservative people and they just don’t know what to think. It is bringing a weird kind of sexuality into a music that is usually pretty male dominated.

FPH: You have mentioned doing a recording session recently. Are you putting out video or an actual record?

Sandy: We are going to put out vinyl. We aren't actually going to put out records because that is expensive but what we are going to do is get used records and color on the covers. We are going to sell vinyl at shows. But it is going to be random records we don’t want to keep.

FPH: But the video session on Monday?

Sandy: Oh, that is going to go with the show on the 30th. There is going to be a projection behind us and Chris (Nelson) is going to put together a video combining different takes. I think he is going to slow it down so there isn’t this timing weirdness.

YET: Chris Nelson is an amazing videographer. He did Toy Punks. They played it at Aurora and they played it at Domy.

Sandy: We see a broader future of him doing live video with the projections.

FPH: What is next for Sandy Ewen and Ms. Yet?

Sandy: We are going to go to New Orleans. We do not have a schedule or a plan but it is going to happen.

YET: We are definitely going to do a tour before half the year is over.

Sandy Ewen & YET will be performing this Saturday January 30, 2010 as part of "A Moving Theater of Absolute Uniqueness or the aesthetic pleasure of pioneering creativity" at the Frenetic Theater 5102 Navigation 8 pm $15/$20.

Free Press at The Cat Show

Sundance - What's it all about?

Park City is a mountain ski resort outside Salt Lake City. To drive into town, during the festival, you need to be a resident or have a pre-purchased parking permit, otherwise you park at a lot outside of town. But it's the kind of area you can easily walk across in several minutes. Hotel room are at least $200 a night for a single on the low end; certainly there are B&Bs and co-ops but those would've been gone months ago. People make DIY films for less than it costs to attend Sundance. There's a screen in Salt Lake City that shows festival .... (cont.)

LOCAL RECORD REVIEWS

By Anna Garza

Teenage Kicks – Uptight! LP

Only the good die young.

Let us now observe a moment -- not one of silence, but preferably one of pure crashing joy -- to commemorate the passing of Teenage Kicks. Instead of mourning the loss of this beloved band, we should celebrate their legacy. And, oh boy, what an impressive legacy they managed to leave behind in such a short amount of time. After releasing a demo and a 7", the Houston, TX power pop punkers broke up last year, but not before recording their posthumous LP, Uptight!

Co-released by local record labels, Team Science and Action Town, Uptight! is a ten song collection of sentimental/anti-sentimental, love/hate duality at work. With songs such as "No More Good Intentions", "Genocide" and "I Wanna Be Your Enemy", one thing is for certain... Teenage Kicks may have left the building but they didn't leave quietly. When singer/guitarist Kirke Campbell sings the lines on "Genocide", "This is the end of the teenage nation. No more self righteous frustration. So which side are you on?" You better count your lucky stars you picked the right side.

Musical comparisons to the Buzzcocks, The Jam and The Clash are inevitable. "All the Kids" contains an adorable shout out to Mr. Strummer & Gang with the lyrics, "Put on the first Clash LP and sing along to Career Opportunities." Starting with Side A to the end of Side B, this record will put a spring in your step and a song in your bittersweet heart.

Having the Teenage Kicks break up is kind of like meeting this great friend at the beginning of the summer, and then having him or her move away a few months later.

Teenage Kicks, we hardly knew ye.

Something Fierce – Where Ya Goin Man/ Spray Coat - 7"

There is a lot of activity over at the Action Town HQ this month. Another vinyl release offering is the two song 7" courtesy of power pop trio, Something Fierce.

Side one is "Where Ya Goin Man"; a song that was originally released on Something Fierce's first LP, There Are No Answers, on Dirtnap Records. For this version, Dead City Sound's Chris Ryan (aka Houston's equivalent to Steve Albini) added some polish to the song and made it shine so bright, I gotta wear shades. The Clash influence is prominent but I detected an early Replacements / Husker Du influence too.

Side two is a boisterous cover of the locally renowned Party Owl's song "Spray Coat" that would make anyone from Houston proud.


For information on these records, please visit:

http://teamsciencerecords.com/
http://www.actiontownrecords.com/

Tom Green is coming to Houston

You've seen him in movies. You've seen him in the news. You've seen his TV show and he's fucked Drew Barrymore. Now you can catch him live in Houston at The Improv 3 nights in a row!

Here is a word from Tom Green about his upcoming comedy voyage.

Tom Green:
Hey gang. Just so you know how this comedy business works. It is important for The Channel that you guys and gals all come out and support this tour! The reason I am going out and doing this is not only because it is going to be A LOT OF FUN! But also, I have determined that this is the best way to promote The Channel.

I am going to be traveling all around the country, the continent, and the world talking about Tomgreen.com The Channel! I will be going on radio and TV in local markets all around the country to talk about my standup comedy tour, and about Tomgreen.com So this is going to be a big year for The Channel.

I will be back in Los Angeles every Monday and we will do some great webo-vision for all of you guys. Also I am going to be travelling with a video crew and we will get tons of great webo-vision from the road. I'm gonna bring lots of it back to play for you guys right here. But none of this works without all of you! I need you to come out to the LIVE shows and support The Channel. I'm flying all around the country, and the world, so you won't have to go too far! Just watch for tour dates as they get posted here on the website, and come to the shows that are in your neck of the woods. Like I mentioned yesterday, I already have shows booked in Edmonton Canada, Florida, and Chicago. There are going to be a lot more dates getting locked in next week. So stay tuned right here. We will be creating a calendar section on the website here soon. You will be able to check up on all of the tour dates. Expect to see that soon.

Thanks for the continued support here at The Channel. I have really appreciated all of the positive feedback over the past couple of years. This is going to be a new chapter in my life. I have always wanted to get back into doing stand-up since I stopped doing it wayyy back in high school. I am excited. And when I get excited I start getting a bit crazy. So, these shows are going to be crazy.

Come out and see me LIVE because we are going to have a LOT of fun, and do some really ridiculous things together. None of which will be posted on Youtube. This is stuff that really is only meant to be seen LIVE. I'm looking forward to meeting you all. Stay tuned! -Tom

He can be seen at The Improv on Feb. 4th @ 8pm, Feb. 5th @ 8pm & 10:30pm, Feb. 6th 8pm and 10:30pm.

Tickets on sale at:
http://www.symfonee.com/Improv/houston/comedians/Bio.aspx?ShowDate=2/05/10&Uid={f896587c-88fc-4210-9ab9-6c04883510b5} $22 General Admission

Lest We Forget: Black Sabbath War Pigs

2009 Worst of Houston

Illustrations by Tim Dorsey
Toilet Photo by Ariana Katechis

That dreaded time has come to call out the worst of the worst. While 2009 was a great year in many respects it was also a turdfest. But you have to call em’ like you see em’. The first step in solving a problem is identifying it and that's what we are here to do. Problem is, we all live in a glass house yet we must throw these stones. So we have taken the time to be introspective and call ourselves out just a little this year. Read up and enjoy.

READ ON>>>>

ART IS DEAD

Some people use oils in their art work while others may use acrylics or even watercolors. To most artist this all they know and where it ends, but to artist Wayne Gilbert it doesn't stop. He has went to the beyond and over for his unusual macabre medium. Human remains, the ashes of people that no longer exist in this world. Dead burnt bodies. Some may say that this is a project that is taboo, but to Wayne he believes that it's a beautiful way of expressing his art that can not be priced. The ex-drug abusing alcoholic has turned his life around and has made quite the name for himself in the art society. He has shared the pages of People magazine with Jennifer Aniston. He has traveled the world, and even has has in own art gallery in Houston, TX called G Gallery.

Picasso didn't just one day say, "I am going to paint the "Guernica"." Andy Warhol didn't just paint the Campbell's Soup can overnight. GG Allen didn't decide he was going to start eating shit...well, maybe he did. So how does one come with the conceptual idea of using dead bodies as a medium? Wayne had a very pragmatic solution to his idea of how he could create priceless art. Wayne studied art for over twenty years reading critiques and books that once you'd get to the fourth page you'd shoot your brain out because you have no idea what the author is writing about. He also was apart of a group with a few artists called The Rubber Group, where in 1989 he and his art mates wrapped a man in plastic and hung him over an arena and let a raging bull tear him up like a pinata.

While driving on the freeway he had an epiphany, using human ashes as a medium. In 1998 he created his first piece called "Anna D" which was once the person's name. Wayne created a relationship with a funeral home and when there are small boxes of unwanted ashes the boxes are passed over to Wayne. It took him six months to receive his first box of ashes. Unwanted babys to unwanted dead neighbors with no local relatives and everoyne dead inbetween. A tour of his art was once given in his private gallery and a woman saw a box of ashes with a woman's name on it and shouted out, "That's Peggy from church!". So sometimes people do find out where Johnny or Jane went. Other ways of claiming his medium is by people donating their bodies to Wayne. It may upset the families but once they read the will they must do as it reads, like Moe Syzlak from The Simpsons once sighed, "I aint never said no to a dead girl before."

The ashes are not dyed, colored, or treated. Each human has their own color. While a white guy could come out black an African American guy could come out white. Still to this day scientist can not explain this explaination of the coloration in human ashes. Wayne sketches out what he wants on the canvas then takes a person and shifts their ashes and bones within the shape of the sketching. He then uses a pricey archival resin and bonds the ashes together. Once the ashes harden on the canvas he will proceed with another human for a different color. Sometimes Wayne can use more than twenty humans in one painting. Receiving light and dark colored ashes is a great pleasure to Wayne for they are the hardest to find. So if you believe you will produce either of these two shades please hang yourselg and donate your body to Wayne.

So how do you put a price on death? "You can't.", says Wayne. Wayne will not sell the decorative dead remains to just anyone. Nor does he just tack up a price and sell it. This does not mean he will not sell his art. He has sold some peices starting at $10,000. He attends to sell the art only to the ones who will respect them not just as art but also as people. Sometimes there are ten people in one painting. The cost of a cremation cost around $700- $1,000 so somewhere in Wayne's spiritual hobby someone is making money, even if his art doesn't sell. He once sold a Nazi logo that is 18"-18" for $3,000. "They ought to be priceless because they're people.", says Wayne.

Wayne isn't the only artist who creates art from dead bodies. A woman by the name of Emma Fenelon from

London once used ashes to recreate tree bark in one of her art gallerys. Another unusual artist is Charlie Frafft from Seattle, Washington who created urns from ashes. So now one can put dead people in dead people.

So is making art with dead bodies illegal? Ashes not so much, but for Thomas Condon...another story. He didn't just stop along with the others at ashes. Thomas went inside a morgue and took photographs of human corpses and when he had his photographs developed the lab tech who was developing his negatives called the police about the dead bodies. Thomas Condon was arrested and was sentenced for two and a half years in prison for unauthorized permission to take photographs of the dead which labels down to corpse abuse.

People will call Wayne to turn their deceased loved ones into memorial art. Even when the caller clearly states that price is not an issue humble Wayne will decline the offer when he could be driving that 2009 Lotus Exige S 260 that his next door neighbor has been dreaming of. Wayne then tells the caller that he does not make memorials. He makes art. If Wayne himself had the choice the dead art would be in a climate controlled museum on display for the world to see.

While Wayne Gilbert is creating art work of the unknown dead I am going to learn his trade and start up a memorial art business and make boo-koos of cash. Why not? I could make recreate Iwa Jima by using good ole Aunt May. Grandpa Joe never did have the chance of visiting Africa so perhaps I could create a poverty stricken village with a fly on a little boy's eye. Money isn't an issue to these people so perhaps someday I'll buy that 2009 Lotus Exige S 260 that I've been dreaming of.

The LI3MB4-virus...don't fight it.

By Jacob Calle

Jesus is a drag...and Limb.......I will leave that up to you. What first started out being James' solo project that he worked on turned into an amazing computer rock band that Houston finds very contagious. So please do not get your vaccinations. You want this virus. It infects the ear drum and creates it to vibrate simultaneously with each bass kick. The inner ear forces the nerve impulses to send chaotic messages to your brain. You lose your balance and your equilibrium is off while your feet tries to gain control on the dance floor. Many Houstonians are already infected. Don't fight it. The epidemic has already started. It is called Limbinoma.

Jacob Calle– We’re joined today by James Templeton, who’s out on the road with his concerts – he came through Houston. We want to talk a little about a new album you’ve got coming out in July called "All Join In". Thanks for joining us, James.

James Templeton: Thank you for having us, Mr Street.

Jacob: Tell us a little bit about this family album.

James: I don't know what family album you're talking about. My new live stand-up comedy album, "Funky Feathers". It was recorded in front of the urinal in the Jones Hall bathroom.

Jacob: What kind of bits are we talking about that you’re putting on there?

James: Bitstep - The White House Musical- Buffalo Springsteen - Watermelon Garden Part VIII

Jacob:It's hilarious already. Can't wait! You mentioned Jimmy Messina last week on the fax machine to me … he’s actually joining you in your tours as you go across the country.

James: The White House Deputy Chief of Staff? He real bad don't like wienertown.

Jacob: Wow, what a mouth full James Templeton! So those of us who are boomers – and I think you definitely fit in that category along with me – we don’t seem to slow down a whole heck of a lot, and we’re always looking forward. What’s next for you?

James: Oatmeal, fiber, lining the walls of my house with fur coats, The Lunchgun (finally! after years of chewing), getting washed up, Xanax/Viagra shooters, re-watching the 2nd season of Xena: Warrior Princess without crying me eyeballs out.

Jacob: Oh crap, I'm sorry James that's all very interesting and all, but ya see I am interviewing Kenny Logins next week and these are his questions. I must have got them mixed up. My bad. So um...why am I interviewing you and what the hell do you do?

James: This is Kenny Logins, James is next week. I real paint good.

Jacob: Oh whoa, you just spun a 360 on me. Okay shoot where do I start. So you are a painter. Tell me about some of your art and it's media. What inspires you to create.

James: Stress inspires me to paint, but I don't know that I would call it inspiration. I find it real hard to focus. When I paint I can't focus and when I'm making music I can focus. Also, and not to fool anyone, but when I need cash! The gallery is in the public arena and I'm not sure my "pretty pictures" belong there, but If I can make some dough then why not.

Jacob: And for your music. Who is in your band and what do they do?

James: Joshua Cordova-drums and sampler, Casey Berridge-guitar and Ableton, and me-Ableton and some noise makers. LIMB is no longer my solo project. It is what ever Josh, Casey, and or I need it to be. Casey is busy working on a Hip Hop record with our friend Alex Cardenas and I'm working on a few things myself that will all be put out under LIMB. The projects we work on by ourselves are open for interpretation by any remaining member or anyone not in the band that we choose to work with. This makes the band flexible, efficient, and more dynamic.

Jacob: Your new jams have a new direction. You added new members to create your solo project to a full front live band. I feel that your live shows is more of a performance art than a musical performance. During your shows the audience that surrounds your band is a member just as solid as the band itself. Do you feel that recording the jams in a studio will have a whole new approach?

James: When I started this project with Josh and Casey, I didn't know what to expect really. I certainly didn't expect it to have the energy it does. I think the record we are working on manages to harness at least some of that rowdy energy. With out the crowd though, I'm afraid, there is little that can be duplicated. The audience is becoming super value to the experience (you are right about that). We recorded it in just a few takes. Some of it is sloppy and the drums and real rambunctious, but I think that helps us depart from the confines of electronic music and think of this as more of a "rock band" with laptops. I don't mean to say that electronic music is limited where rock is not, in-fact I think just the opposite, but it lacks aggression for the most part and, whether or not we meant to, I think we are successfully challenging that.

Jacob: Oh yeh? Did you get my fax the other night before you went to sleep? I just wanted to tell you goodnight. Before we decided to communicate only through fax machines we communicated only through messenger boys but switched to pigeons because the messenger boy twisted his ankle on a rock in front of Number's. So anyways, when I grabbed the note off the pigeon's leg there was bird shit on it and it was hard to read. So please tell me again why LIMB is all on capital letters. To me that looks like a rip off of B L A C K I E. All caps with spaces. You guys are all caps and no spaces. Does the line draw at the spaces?

James: That is the joke. Glad you caught on!

Jacob: I get your jokes.

Temporary Persuasion

Michael Dee, Song of Myself, still from dvd loop, 2008

Persuasion
January 15, 2010
8-10 pm
the Temporary Space
1320 Nance, Houston, TX 77002

About Persuasion:

Hybrid Moments:
“When new creatures rape your face
Hybrids open up the door.”>

We will be displaying works by various artists according to a system of self-applied rules and limitations.

First of all, no begging from corporations, individuals, or institutions.
Begging has put art in a sorry place.
For that reason, original works are de-prioritized. Multiples, copies and bootlegs are ok.
cf., Walter Benjamin “Art in the age of Mechanical Bull-riding.”

We take courage in the samizdat tradition of self-published literature during the Soviet and other totalitarian regimes.

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State of Disunion

By M. Martin
Image by Choon Hiong


In January of 2010, Barack Obama will deliver his first state of the union address. For various reasons it will be, for much of the audience, a somber occasion.

In particular, anyone who supported Obama's candidacy in hope that he represented leadership on behalf of real change will have good reason to be bitterly disappointed. Those who supported him as the least of several evils will have less cause for disappointment, but not much. At this point, the Obama Presidency appears to be the barest minimum course correction required to prevent the worst possible disasters that could result from the unmitigated disaster of the president who preceded him.

READ ON>>>

What Do We Want? A Stadium. When Do We Want It? NOW!

By Anna Garza

If Mike Jones' Houston Dynamo (Don't Play) is the "official" Houston Dynamo anthem then I nominate Aretha Franklin's Respect as their "unofficial" anthem. Soccer awareness is strengthening in our city but you would never know judging by the amount of respect the Dynamo receives in comparison to our other major sports franchises. This is a particularly jagged pill for futbol fans to swallow since our team is the only team to have won trophies in this decade.

Upon their relocation to H-Town in 2006, the Dynamo have won two back to back MLS Cup championships, made the quarterfinals in 2008 and the semi-finals in 2009. How come the most media coverage the Dynamo can garner is when David Beckham and his perfectly sculpted coif decide to grace our presence at Robertson Stadium? Ok, we all know the answer to that question... but it still doesn't make it right. Also not right is burying front page deserving articles in the back of the Chronicle next to columns about high school sports. And who does a sister have to blow for the Dynamo to receive more than ten seconds of air time on most local TV sports segments? After the Dynamo defeated the Seattle Sounders to advance to the semi-finals, I tuned into the local news for highlights and recaps. Unfortunately for me, I blinked and missed it. Come on Houston, we have a sports team that is hard working, talented and actually wins... YOU BETTER RECOGNIZE!

Now that Annise Parker has been officially sworn into office as our new Mayor, it is imperative for soccer, no...scratch that... sports fans to rally behind our beloved Houston Dynamo to bring attention and action to the stadium project!

Show up in your favorite Houston Dynamo gear and let's raise our voices! We'll sing our songs, we'll play some friendly football, and we'll let our city know that the 2-time MLS champion Houston Dynamo has the support of its fans and hometown.

Date: Saturday January 16, 2010
Time: 1:00 pm – 3:00 pm
Location: Proposed Downtown location by Lucky's pub. (The lot surrounded by Texas, Dowling, Hutchens and Walker streets.)

GIVE US OUR STADIUM! FOREVER ORANGE!

options: you have them

By Anna Garza

The sun will come out tomorrow... or at least will make a guest appearance at some point. Don't let the seven day weather forecast get you down. There is a lot of exciting stuff going on this week/end and it has your name written all over it. Yes, YOU!

Wednesday January 6 at the Backroom / Mink

Golden Cities, Great Hopes, Dirty Wheels, Spelling Bee, Curtis Tinsley & DJs No Fun & King Ghidora. Fans of ambient/shoegaze/drone/pop music will dig Golden Cities. Their music is ideal to listen to with the headphones on, lights off, dancing around naked in your bedroom; oops… that’s just me. Anywho. I am not clear on the Mink's policy regarding nudity so keep your clothes on during this show. I, on the other hand, can't make any promises. Doors at 9pm. $5/$8 3718 Main @ Alabama

Thursday January 7 at the Backroom / Mink

I was told by a reliable source that boats!! are from Sacramento, CA. However, I was informed by a more reliable source (like the boats!! Myspace page) that they actually hail from Winnipeg, Canada. Whatever the case may be, they ain't from here. boats!! play bouncy and infectious pop music with adorable girl vocals. Local rabble rousers The Takes, The Wrong Ones and The Caprolites complete the lineup. I wonder if the guitarist from The Takes can keep (at least) one shoe on during their entire set. Things that make you go hmmm... Doors at 9pm. $8 3718 Main @ Alabama

Friday January 8 at Mango's

Booking collective Flavored Woof are back in Twenty Ten with their first offering of the new year: Yellow Fever, Giant Princess, The Wiggins and Psychic Kids. I predict lots of smiling and dancing will commence that evening so if that sounds like your kind of fun then Mango's is the place to be. All ages. Doors at 8. $5 403 Westheimer

Saturday January 9 at The Backroom / The Mink

Houston punk historian, David Ensminger, organized this benefit show for a friend and fellow musician named Tim O. who is battling cancer. A mixture of old and new school punk rockers are joining forces for an ole fashioned musical revue. Below is an exclusive preview of what to expect:

Goddamn Job by the Replacements (w/Jimmy Sanchez!)
Teaching You the Fear by Really Red (w/ the Mydolls!)
Prostitution by Really Red (w/ Bob Weber & Beau Beasley!)
I Was a Teenage Fuck Up by Really Red (with John Anarchitex & Bob Weber!)
Bullet, and Hybrid Moments by the Misfits (w/Vicky from London Girl)
Hate the Police (at least) by the Dicks (with JR Delgado)

Are you a believer now?

The show will be EARLY 8-10 PM. Doors at 7-8pm. Not sure of the cover charge but it is a benefit so don’t be stingy. 3718 Main @ Alabama

Sunday January 10 @ Khon's

End your weekend on a high note with The Energy (htx), The Sinks (mpls) & The Altars (atx & featuring members of Signal Lost, Sacred Shock & J Church). I listened to the Altar's record the other night and my mind was blown. Fans of punk/hardcore, this show is for you. Khon's 2808 Milam (next to Pho Saigon) 10pm $8 ALL AGES

Good Mob January 14th

T-Mo, Khujo, Dig Gipp, and Cee Lo, the street poets that make up the legendary hip hop group, Goodie Mob, are making their way into H Town to the House of Blues on January 14th together and touring for the first time in 10 years. The Dirty South giants have been exemplifying intelligent progressive Southern Hip hop since the mid 90's. Perfering to stay more in touch with reality than some of their other Southern Rap peers they've touched up on every issue from railing against a system that's bias against blacks to tributing their mamas.Goodie Mob does it all with a certain spirtual flavor uncommon in the Rap music of today giving them unique place in the history of Hip Hop.

I admit, being a southern boy born and raised I've betrayed the hip hop that has originated from where I'm from. I've preferred the more soulful, intellectually stimulating rap from other parts of the country. Generally, Southern Rap has tended to ignore actual social issues in exchange for talking about big titties, candy colored caddies with badass rims, sippin syrup,and being too gangster to be still gripped in reality. Sure, all that can be great sometimes but with monotonous exposure? I don't know about you but my ears bleed. There are certainly some exceptions though. Goodie Mob happens to be one them, they've been exemplifying intelligent progressive Southern Hip hop since the mid 90's. And lucky for us, the Dirty South giants are making their way to the House of Blues on January 14th together and touring for the first time in 10 years.

The Atlanta based group along with OutKast were the first Southern hip hop artists to gain nationwide attention and were even the first to coin the phrase "Dirty South" on their classic debut album, Soul Food. The Mob also introduced the world to the flamboyant, insanely talented Cee Lo whose soulful crooning holds the melodic hook to many of Goodie Mob's best songs and also has the best verse on nearly every song he raps on.

Unfortunately, Goodie Mob didn't last too long and after a few releases over the course of a 5 year span Cee-Lo split with the group seeking a successful solo career which he later found with the international hit single, 'Crazy' from his side project Gnarles Barkley. If you weren't living under a rock during the summer of 06, you've heard it. Goodie Mob on the other hand, floundered at his departure hit a snag commercially and artistically eventually changing their name to the Lumberjacks after another member departed in 2005. Almost a decade after Cee Lo's leave, Goodie Mob have reunited, are in the midst of a nationwide tour and with rumors of a new album in the brew, the Mob are looking better than ever.

Anyone going to the show can expect chill keyboards and fat bass lines to compose the funky grooves with rhyming from some of the Dirty South's finest. Rhymes riddled with gritty street tales stripped of the gansta flavoring and planted firmly in reality. Cee Lo had this to say regarding their tour and reunion:

"The reunion was inevitable. The void in today's music and marketplace ironically has become the very place prepared for us. There's a need and want for what we do and represent as the Mob. Consider the tour a mission....an order if you will. The last of a living breed, the Goodie Mob marches on." The Mob march into Houston's House of Blues on January 14th along with Houston's own Southern Rap legend, Scarface. Tickets are thirty dollars.