Welcome to listen, WMRE’S music magazine.The time’s come again to fire up the printing presses and spike the cider. In our minty new eleventh issue, we’ve got something for everyone: if you’re a polit, you’ll love our special section on music and politics,
credits, issue xi
editor-in-chief: nalini abhiraman production: rohan kohli, dan ouyang, laila rubin, matt mi chelsen
Los Angeles and its famed Sunset Strip were once ruled by the excess and gaudiness of hair metal bands like Poison. When one imagines LA’s music scene in the mid to late eighties, images of large hair, spandex, and power ballads come to mind. The cheesy, superficial nature of the era often undermines the contributions LA bands have made to rock music in the past. However, it’s important to remember that for every Poison there’s a Black Flag.
In recent years a new breed of band has been terrorizing Los Angeles with a sound that’s in complete contrast to the glitz and glamour of the hair band era. Their raw, confrontational music is the perfect soundtrack to the scenes of drug deals and prostitution taking place outside the venues they play. The music of new bands like The Icarus Line, 400 Blows, and The Bronx echoes the disillusionment and aggression of some of the great LA bands of the past like The Germs, Black Flag, and The Doors.
The Icarus Line is a band whose onstage exploits often receive as much attention as their music. While playing the Texas-based South by Southwest music industry showcase, the band pulled a stunt that echoed the dangerous spontaneity that was once a hallmark of rock & roll. The band was in the middle of their set at the Hard Rock Café and fed up with the unresponsive crowd. To the dismay of a myriad of drunken Texans, the lead guitarist, Aaron North, shattered a glass case containing Stevie Ray Vaughn’s guitar, plugged it in, and proceeded
You can’t find this in a travel brochure: COREY LICHT takes on the LA rock scene.
to finish the set with it. The Icarus Line’s music is every bit as vitriolic and powerful as their actions. Their sound is a punishing amalgam of Greg Ginn guitar work, Iggy Pop- style howling, and a heavy dose of psychedelic noise that’s reminiscent of Spacemen 3. Although their 2004 release, Penance Soiree, received critical acclaim from NME, Mojo, and Spin, the band still lives the same low-rent existence they always have in Los Angeles. However, The Icarus Line isn’t the only LA band that’s carrying on the rock & roll torch. 400 Blows is a three-piece band that plays pummeling rock shows in matching black military uniforms. The band sounds like Black Sabbath on methamphetamines with a high-pitched Darby Crash on vocals. On their debut, Black Rainbow, drummer, Ferdinand Cudia, and guitarist, Christian Wabschall, lock the band into tight, angular rhythms that singer, Skot Alexander, screeches darkly poetic lyrics over.
The Bronx is a band that thrives on spontaneity. Most of the songs on their self-titled debut were written the night before their album was recorded. The hard-hitting album was recorded live in the living room of Gilby Clarke, the former Guns & Roses guitarist. The result is an album that teems with a brutal urgency that recalls the sloppy recklessness that punk shows once possessed. The Bronx’s singer, Matt Caughthran, paints a stark picture of Los Angeles through his lyrics about his experiences growing up in the city, like witnessing a man being shot in the head in the song “Gun without Bullets.”
In all, LA bands like The Icarus Line, 400 Blows, and The Bronx are just normal guys who love good rock & roll. Sure, some of them may be signed to major record labels, but they’re not rock stars like the bands of the New York scene. Like their idols, Black Flag and The Stooges, they’re just here to rock.
Avoid skull fractures and unwanted sexual explorations, thanks to LAILA RUBIN’s trusty guide. Cut it out and put it in your pocket- it’s for your own good.
DO
Wear non-rippable clothing
Go on your back
Maximize surface area while staying straight and tough
Be prepared to fall head-first
Keep in mind that you might be fondled by strangers that could potentially smell
Be aware of the fact that you may not find your friends afterwards
Remember that it’s called crowd surfing, not lightly populated area surfing
Get strong people to lift you up –> none o them sissies
Enjoy the moment just like you would enjoy a freshly baked apple pie
Consider carrying a whistle for emergency purposes
DON’T
Wear skirts (even Scottish men)
Do the limp fish technique
Go face first and see the ground as you slowly (actually very fast) fall face first
If you try twice, and get dropped, don’t do it again
Do it if you weigh over 170 pounds (or resemble an elephant/hippo/grizzly bear)
Go up on slow songs or near the end of songs
Fart in peoples’ faces
Pretend like you are actually surfing –> people do not equal waves
Dive Jump
Cry
Complain about people fondling your gluteus maximus
Keep a gun/knife/lethal weapon/sharp object in your pocket
Start conversations with people along the way—you may not finish them
Dub and tropicalia thrown into a mixer of experimental noise. This very esoteric band is in a league of their own. This beautiful music creates lush soundscapes that envelop the listener. Creature Comforts is less monumental than Beaches and Canyons but the songs are shorter and this allows for more repeat listening. A great introduction to this cutting edge band.
This record is pathetic, I can imagine it now…………. Some of the Victory Records employees sitting around crying about how their emo/hardcore/emocore/Thursday style music aren’t drawing ladies/money to their terrible label. They turn on MTV2 and Hot Hot Heat and Interpol videos come on and they decide they need a dance band. So we get this awful band—I hope they get beat up by the guys from Hatebreed in the Victory Records bathroom by accident.
The Black Eyes’ final record is quite the departure from their first. Saxophone influenced heavily by James Chance highlights the jerky rhythms. Cough is all over the place with two drummers, and two vocalists going at each other. Less rigid and more experimental, many were disappointed by this record. Personally, I find it amazing and wish they had not called it quits.
This sounds more like Black Dice than Wolf Eyes. Well perhaps some of the material from Wolf Eyes’ Slicer is reminiscent of this collaboration. Essentially this is the more comfortable ambient sounds of Black Dice mixing with the less aggressive yet still very evil/uncomfortable sounds of Wolf Eyes.
[Mini Reviews continued on page 7]
CHRIS DARESTA and JONATHAN QUINN keep it short and sweet. Sonic Youth- Sonic Nurse Black DiceCreature ComfortsHaving shared the stage with Elvis, George Jones, Roy Orbison, Buddy Holly, Fats Domino and Chuck Berry, “The Human Jukebox,” better known as Sleepy LaBeef, is “a living, breathing, guitar-picking history of American music.” So says the New York Times; yet why haven’t you heard of him? Even the Beatles and Bruce Springsteen cited Sleepy as a major influence, and Kenny Rogers once sang his back-up. But more importantly, a few weeks ago when Sleepy LaBeef played to a sardinepacked Blind Willie’s crowd ranging in age from 20 to 60, why weren’t you there? He performed every song requested and some of his own in a string of endless medleys, from Elvis to Johnny Cash to Chuck Berry And speaking of Johnny Cash, no one alive could sing “Folsom Prison Blues” with a voice of iron soul as well as Sleepy. Sleepy speaking about his concerts: “When we have a performance, the music is alive, and it’s part of life, like breathing. I’ve seen songs that were written before I was born that if you get your teeth into ‘em, it’s just like a new one.”
As for new songs, Sleepy put out a new album last year called I’lll Never Lay my Guitar Down. True to his word, “The Road Warrior” still performs over 200 shows a year, so be sure to catch him next time. You may just find yourself doing the Twist with a little lady older than your mother, the big man in the black Stetson hat rocking right behind you.
A mini-almanac,
It’s easy to forget, especially since popular perception of the genre consists of fifty years of Nashville excrement, that country music was one of the parents of rock and roll. As relics like Sleepy Labeef demonstrate, there was a time before country music was formulaic songs, cliché lyrics, and forced twangs sang by dolled-up imposters like Garth Brooks. There was a time when country music was the voice of rural America, from the Blue Ridge whiskey stills to the Rocky Mountain saloons, the Ohio Valley county fairs to the wide West-Texas plains. A time when early rockers like Elvis, Buddy Holly, and the Rolling Stones seamlessly drifted from stompin’ rocker to country ballad. There was a time before country music became a haggard imitation of itself.
Don’t get me wrong, there’s still plenty of good musicians playing country music, but for every Whiskeytown there are twenty Toby Keiths. And there’s a plethora of golden country gems stowed away or forgotten in the musical archives. I don’t really believe in genres as anything beyond a marketing device, but most of these musicians would probably be classified as Folk, Bluegrass, Classic Country, or Alternative Country. This is by no means an extensive or complete list, its just a few artists to download if the only good country music you’ve been exposed to is Willie Nelson and Johnny Cash.
Hank Williams: Hank sang every detail of his drunk, manic, ramblin’, cheatin’ life in a voice so simple that every human being in the rural US in the 1950s could understand and associate with him. Check out: “Your Cheatin’ Heart”, “Lovesick Blues”, “Jumbalaya”
[Continued on page 11]
Above: Sleepy LaBeef (in hat) and band. courtesy of CALEB WARREN...of our trusty-rusty STAFF, that is.
“Mr. Blue Sky,” ELO (Chelsea Samuel)
“Wake Me Up (Before You Go-Go),” Wham! (Chris Rodriguez)
“Saturday Morning,” the Eels (Andrea Gunadi)
“(Insert Song),” the Ramones/the Misfits (Chris Daresta)
“Goddamn Right It’s a Beautiful Day,” the Eels (Valerie Gaimon)
“That’s When I Reach for My Revolver,” Mission of Burma (Kedar Mankad)
“Paulina,” Mates of State (Roula Abisamra)
“Kissing the Lipless,” the Shins (Sana Mahmood)
“Fun House,” the Stooges (Corey Licht)
“Dear Catastrophe Waitress” (the whole album), Belle and Sebastian (Rachel Gottschalk)
“Attitude,” Bad Brains (Leuwam Tesfai)
Tender Buttons Tender Buttons
This EP is very dancey electronic experimentation from members of Kill Me Tomorrow. Telephone rings and mashed up electronics create jumpy numbers. They even cover a Roxy Music track. Fun stuff, but check out Kill Me Tommorow first.
Sonic Youth Sonic Nurse DGC
Finally, a local Atlanta band that doesn’t hopelessly suck or tread clichéd genres mined many times over since their innovation! Hot off winning Creative Loafing’s Best Experimental Band for 2004, Untied States self-released their first full length debut Ineffable by Design (I doubt they still give out copies of their first debut Bird of a Blood Feather anymore) to quiet but unanimous acclaim, and for good reason: throughout the majority of the album Untied States explore the noise rock genre with verve and aplomb, using bizarre time signatures and bombastic dynamic shifts to keep the listener on their toes. Colin Arnstein’s Thom Yorke-esque vocals complement Skip Englebrecht’s distorted guitarwork and bizarre noise samples nicely, and while occasionally the mix drowns in its own sheer cacophony, it can be blamed more on the fact that these guys recorded this album in their own home. God help us when they get a record deal.
Thanksgiving Welcome Nowhere
Their newest record is much better than Murray Street and I personally thought it is their best effort since “Goo.” Some dude who is clutching his copy of “Dirty” and sitting under his Nirvana poster is probably pissed at me but who cares? This album is great. All hail Sonic Youth.
Moving Units Dangerous Dreams Palm Records
Fun post punk that makes the kids want to dance. If this came out sooner they could’ve been very popular. Unfortunately, now they are not as interesting after hearing so many bands of this style. Check out Moving Units instead.
Kimya Dawson Vagenda K Records
Kimya was in the Moldy Peaches, and Vagenda follows in the same style of lo-fi anti-folk songs. It’s fun and cute but not as good as the Moldy Peaches.
My LP came on white vinyl as well as a CD-R copy, along with a coloring book. The packaging is amazing and this is fitting for Phil Elverum’s first release. It’s a collaboration of Phil and his friends and is like a minimalist version of The Microphones with different singers. Fans of The Microphones should rush out and get a copy.
Wolf Eyes Burned Mind Sub Pop
Ah dear God it is so harsh. It is amazing but no one is going to like this. Thurston Moore was righ--itss one of the best things Sub Pop has put out, but its going to make you hurt. Wolf Eyes are one of the best noise bands ever. I hope this is the rock that rips a hole in Sub Pop’s already sinking ship.
Battles Ep C Monitor Records
Weird experimental math rock from this super group of sorts featuring kids from Don Cab and Helmet. It’s a good little EP—the first and last tracks are the best.
A bizarre record of sugary melodies combined with chaotic noise. It is great. Maybe not the best starting place for this band but it is still really good. It’s a weird concept album about a milkman.
Coming off of their stellar 2003 debut, it seemed like Fiery Furnaces were poised to take both critical and mainstream success. Their sound on Gallowsbird’s Bark harnessed blues rock with an eclectic penchant for singsong lyrics and wild guitar flurries from brother Matthew Friedberger. So it came as a surprise to hear their latest, Blueberry Boat, forsook their previously carved niche for grandiose prog epics loosely centered around the themes of traveling and, believe it or not— pirates. But does it work? Yes and no: occasionally the sheer assault of discordant song sections overwhelms the ears, but Eleanor’s earnest vocalizations and Matthew’s intricately interlocked synth spasms makes the experience intriguing and endearing, if not as instantly accessible as their debut.
Locals Fest. Blame Game, Untied States, Elf Power, and more. November 7th at White Hall.
Musicians commandeering the soapbox and the music box? CHRIS RODRIGUEZ investigates.
“I’m a uniter, not a divider.”
– George W. Bush (2000)
Falser words have never been spoken. But on the other hand, truer words have never been spoken, either. Ah, the paradox that is the Bush presidency.
Despite the outpouring of sympathy from every corner of the world after 9/11, George W. Bush and his administration have managed to piss off several billion people around the globe and create rifts in America the size of Jared’s pre-Subway waistlines. The world hates us and no one in this country can agree on anything. Nice going, Chimpy McFlightsuit.
WHAT SHOULD THE CAMPAIGN SONGS OF THE 2004 ELECTION BE? THE ZINE STAFF VOLUNTEERS ITS PICKS.
Kerry: “CIA” (The Fugs), “Working Class Hero“ (John Lennon), “Don’t You Want Me Baby” (Human League), “One Tin Soldier” (Joan Baez)
However, a direct positive result of Bush’s supreme failures as president has been the coalescence of millions of American voters disgusted with what the United States has become and determined to defeat the boy king at all costs. Unprecedented grassroots efforts led by anti-Bush activists have sprung up all over the country registering voters and campaigning for the only man who can prevent four more years of Republican hubris, Democratic nominee John Kerry.
Nowhere has this swell of action been more noticeable than in the normally bland, staid music industry. Resurrecting the spirit of political activism in music that died out in the seventies, artists have come out of the woodwork to voice their opposition to the policies of the Bush administration. On issues ranging from the PATRIOT Act to the Iraq war to abortion to the environment to civil rights, musicians have ceased standing idly by while their country collapses around them.
The culmination of this resurgence in political action is the formation of the Vote for Change tour, organized and sponsored by upstart PAC MoveOn.org. Hitting the road for a week at the beginning of October and landing in several key swing states (Florida, Pennsylvania, Ohio, Wisconsin, Iowa, North Carolina) for the November election, Vote for Change aims to convince its attendees to do exactly that: vote for a change in the White House. Its lineup is truly staggering, with superstar artists pairing up to headline arena shows all over the country: Bruce Springsteen and the E. Street Band with R.E.M., Dave Matthews Band with Ben Harper and the Innocent Criminals, Pearl Jam with Death Cab for Cutie, James Taylor with the Dixie Chicks, Jackson Browne with Bonnie Raitt, and John Mellencamp with Babyface Edmonds. Additional artists participating in the tour include Neil Young, Jurassic 5, My Morning Jacket, Keb Mo’, John Fogerty, and Bright Eyes.
Bush: “Make Sure I’m Out Screwing Up” (Wesley Willis), “Where You Lead I Will Follow” (Carole King), “I Shit My Pants”
(The Fugs)
The participants in Vote for Change represent a fairly accurate cross-section of the electorate tour organizers whose hope is to oust Bush in November, from lifelong activists (Pearl Jam, R.E.M.) and outspoken Bush critics (Dixie Chicks), to disaffected youth (Death Cab for Cutie) and those normally known for [See pg. 10]
Volunteers are always welcome at the League of Pissed-Off Voters. COURTNEY HULL represents for the newest political animal on Emory’s campus.
Yo, so has anyone else noticed pop culture’s sudden obsession with politics? Well, I have. I feel like I can’t do anything without seeing P. Diddy with his “VOTE or DIE” t-shirts, or Christina Aguilera on Oprah telling kids to vote—and wait—we can’t forget about Bruce Springsteen and his “Vote for Change” tour. Yep, politics is pretty much everywhere right now, even in pop culture (the one place we thought was safe), but to tell you the truth, I am pretty psyched about it.
But that’s cause I’m what you would call “a voter organizer.” I work with this kick-ass organization, The League of Pissed-Off Voters. Ever heard of a graffiti writer known as Upski?…Yeah, I thought so. Well, he’s the one behind it all. He’s one of the dopest people I know, and he’s making it happen. This little League of ours, it ain’t so little anymore (We got chapters all around the country building voting blocs for change). Sorry, Cameron Diaz, but we were way ahead of your ass in knowing that in order to even attempt to move towards social justice, we have to get young folks, all young folks, from hip-hoppers to punk kids, and everyone in between, out to vote. And we’ve got to vote together.
We’ve all realized that just bitching about political disempowerment in this country has not effected change. So that’s why we’ve got the League. From putting on the National Political Hip-Hop Conference to teaming up with numerous artists and organizations throughout the country, we are building a nation-wide voter bloc to fight institutional racism, the destruction of the earth, warmongering, exploitation, and corruption—and we’re doing it in unison. So believe it or not, we’re gonna swing this election.
So what are you waiting for, Drew Barrymore to put out another documentary on why young people haven’t gotten their asses to the polls? Didn’t think so. So check us out at indyvoter.org.
Don’t know who you’re voting for? Check out our voter guide. Cause yep, it is on.
[From pg. 9] impartiality but who can simply take no more (Bruce Springsteen, Dave Matthews Band). Some have risked alienating large sections of their fan-bases who strongly support Bush, but have deemed the opportunity to potentially enact real change in this country too powerful to resist. Says Matthews, “This country represents a dream of what people of widely varying backgrounds can create together. This election is not only about what this country is now. It’s also about what it can be. I’m an American, and it’s my responsibility to say what I think. With what I see in the world today, I cannot justify not standing up and saying, ‘I feel with every bone in my body that this country is going in the wrong direction.’”
Contact chull@emory.edu for further information on the League.
All proceeds from the Vote for Change tour will benefit MoveOn.org and its subsidiary America Coming Together, which plans to register and mobilize millions of voters throughout the United States prior to the election.
Emory’s Student and Corps and Photo Club throw a party with bands, art, and food. What more could you ask for?
The Art Club, better known as the Student Art Corps, kicked off the new school year with a bang two weekends ago at the Studio Arts Building.The Photo Club co-sponsored the party, which included an art show with over 40 pieces of paintings, drawings and photography covering a variety of styles from realism to abstract. There was even a mixed media 4’ X 6’ interpretation of the Studio Arts Building created with charcoal and duct tape. Among other pieces in the show were photographs taken by Judith Kaine and Dana Haugaard, Pollockesque works created with dripping paints sanded down on wood by the skillful hands of Todd Woodlan, figurative sketches by the everso-talented Natalie Balvema, a maze-like line drawing of intricate lines with shapes hidden in it by the maze-master Courtney Sanello, and a genius acrylic on canvas piece by yours truly. Chips, cookies, sodas, and Tang were all served.
[Continued from pg. 5]
Bill Monroe: Known as the father of bluegrass, Monroe and his Bluegrass Boys set the genre’s standard with their catalogue of finger-pickin’, old timey, Appalachian drawled 19th Century spirituals, field hollers, and folk ballads. Check out: “Blue Moon of Kentucky”, “Muleskinner’s Blues”
Hank Snow: Snow spent most of his childhood at the railroad station in Liverpool, Nova Scotia and did a stint as a cabin boy on a fishing trip before he drifted across Canada and the United States as “Hank the Yodelin’ Ranger”, picking guitar and yodeling for almost sixty years. Check out: “The Texas Cowboy”, and “The Hobo’s Last Ride”
Merle Haggard: A lot of country stars sing about being in prison, the difference is Merle, unlike most of them, actually did time in San Quentin. His trouble with the law began as a juvenile when he was arrested for jumping a train to free ride up and down the California’s Central Valley. Merle’s father was a conductor so he had a free train pass. Check out: “I’m a Lonesome Fugitive”, “Sing Me Back Home”, “Fighting Side of Me” (especially for hippies)
Townes Van Zandt: Townes wrote the journeyman’s experience of America: dust, highways, saloons, preachers, crooked salesmen, outlaws, lust, love, myth, and poverty. Townes was one of the fathers of Alt-country and his influence on later generations of songwriters, such as Bruce Springsteen and Lucinda Williams (below), far surpass his popularity. Check out: “Pancho and Lefty”, “Greensboro Woman”, “Tecumseh Valley”
David Allen Coe: Another penitentiary alumni, Coe is better used a reference to other musicians then as a source of good music, although a few of his songs inspire sympathy despite their usual theme of racist-redneck self-promotion. Listen for allusions to Hank Williams, Merle Haggard, Johnny Cash, Willie Nelson, Waylon Jennings, Marty Robbins, Ernest Tubb, Charley Pride, Red Solvine, Jimmy Rodgers, Lefty Frizell, and Patsy Cline. If that ain’t country, he’ll kiss your ass. Check out: “If that Ain’t Country”, “Ghost of Hank Williams”
Lucinda Williams: An amazing songwriter with a deep respect for folk-poetry, delta blues, and alternative country traditions. Though her songs typically describe heartache, they often counter loss with feelings of familiarity or comfort. Check out: “Concrete and Barbed Wire”, “Maria”
Yonder Mountain String Band: Beginning with Jerry Garcia, there’s always been some kind of link between bluegrass and jam bands. This string quartet strengthens this link by combining jam band aesthetics (epic solos, hemp, stoned white kids, etc.) with bluegrass arrangements. Check out: “Sharecropper’s Son”, “Red Rocking Chair”
There were also live artists performing their works for the entire crowd. No, people weren’t painting at the party. However there were some insane bands at the party. I was told that the bands that performed are two of the most talented and original on the entire Emory campus, and after hearing them perform I believe it. The Suitcases kicked off the night’s musical events with a 45 minute set. Unfortunately a teacher was scared away by their theatrics which included fake blood, but all of us real rockers were blown away by The Suitcases’ drum machines, keyboards, and numerous effect pedals. The other band that was so kind as to grace us with their presence was Castle Of Togetherness. That night was actually the day of their CD release. The rock band drew a HUGE crowd, who all hang out in the painting and drawing room. The members, Matt Buckner on vocals/guitar, Paul Livanos on guitar, Jonathan Quinn on drums, and Josh Therrien on bass said that their major influences include Dylan, Jeff Buckley and Velvet Underground. Castle of Togetherness played a 45 minute set as well. Unfortunately the sculpture teacher was not around to hear them play
The whole event drew a wide range of people. Along with art corps members were random people from all around campus, many which I’ll admit just came to see the bands. But who could blame them? Lets face it, The Suitcases and Castle Of Togetherness ROCKED! The event kicked off at 9 at night, and even though the bands regretfully only played until 10:30, the party didn’t stop until after one in the morning- Andrew Salk
For our first edition of heroes of rock we shall honor the work of Blackie Lawless, the metal god who fronted the infamous WASP. Known for their disgusting stage antics and crushing metal sounds, WASP was a truly, truly great hair metal band. From torturing women on stage, to throwing raw meat into the crowd, Blackie was a true rocker. However, he went beyond the call of standard rock god duty; Blackie sacrificed the one thing that many rockers could never sacrifice. No, I am not talking about reverb. Blackie, my friends, sacrificed the ability to rock groupie poontang after the show. The image of the hordes of women dressed in cut-off acid-washed jean shorts and revealing tube tops, ready and willing to do anything to “meet the band,” is enough for most skinny and slightly nerdy men to pick up and learn to wield the power of the guitar. Blackie, however, was so committed to the music that he was willing to forgo this fringe benefit by sacrificing his crotch for rock. He decided to take the stage show up a notch, and had pyrotechnics installed into his spiked leather codpiece. During the show, he had the ability to shoot flames from his groin. Unfortunately, this true showman’s man meat would be roasted like a juicy steak on a grill as a result of the fireworks exploding from the area housing Blackie’s family jewels. In fact, his slightly grilled genitals would require icing down after the show.
So while his band mates and fellow metal peers would be banging groupies in the back of the bus, Blackie would be attending to his slightly singed nuts. Lawless gave up what many rockers would never give up; ask Fred Durst to give up the ability to have sex with multiple young women or retire, and he would probably go back to working at the Dairy Queen in whatever redneck town from which he came. Even classic rock bands like Kiss, Led Zeppelin, and the Starland Vocal Band would not exist without the promise of sweet ,sweet groupie snatch.
Blackie Lawless was willing to put his package on the line in the name of metal and rock, and for this, we salute him. Emory senior Alec Young has this to say- “Whenever I feel like I have too much work, I think of Blackie’s crotch being nicely charbroiled like a chicken sandwich, and I say if he could do that for metal, I can finish my stupid paper for some stupid class.” I agree. For his commitment to music we make Blackie a “HERO OF ROCK!”
TURN-OFFS: LEX LUTHOR, KRYPTONITE, AND A LACK OF GOOD HIP-HOP IN METROPOLIS
TURN-ONS: SUPERMEN, ROMANTIC OUTINGS, GENUINELY GOOD MUSIC
