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Southern Gothic Magazine We strive to be elegant while never shying away from the many uncomfortable truths that fuel the world’s interest in our dynamic and rich cultural heritage

Jerry Lee Lewis, Chuck Berry, Little Richard and Fats Domino during their group interview in 2011.
29/05/2015

Jerry Lee Lewis, Chuck Berry, Little Richard and Fats Domino during their group interview in 2011.

The Hall's interview series goes deep with artists from Chuck Berry to Chuck D

New Orleans Photographers Highlight the Prisons-for-Profit System
15/12/2014

New Orleans Photographers Highlight the Prisons-for-Profit System

New Orleans Photographers Highlight the Prisons-for-Profit System December 7, 2014 Leave a Comment PHOTO CREDIT: Keith Calhoun | (L) Glenn Demourelle, Angola State Prison CCR Lockdown, 1980. (R) … PHOTO CREDIT: Keith Calhoun | (L) Glenn Demourelle, Angola State Prison CCR Lockdown, 1980. (R) 23 Hour…

KEY FIGURE: Happy Birthday to Lou Adler
13/12/2014

KEY FIGURE: Happy Birthday to Lou Adler

by J.D. Thompson

“I Don’t Know Much About History” but I know Lou Adler has been making it for a long time. He is perhaps one of the most enigmatic and influential figures in popular culture. Born in Chicago on December 13, 1933 and raised in East Los Angeles, Adler is tough and shrewd like many of the pioneers of the early recording business. But unlike some of his more ostentatious contemporaries and others that have followed them, Adler’s presence (both in and out of the recording studio) is subdued – preferring to allow the artists and musicians he brings together in the space to explore their creativity. I should know; I spent several years in close contact with him collaborating on my first album Chasing Demons.

In 2004, I was living in Dublin, Ireland scraping a meager living as a street performer, or busker as they say. Lou was visiting Dublin that summer and while strolling with his lovely wife Page down Grafton Street the couple stopped and bought a demo CD from me. Before I knew it, I was in a top-of-the-line recording studio creating new demos for what would later become my first album. During that time, Lou treated me like part of his family. He invited me into his home, introduced me to his children and shared with me stories and insights into the world of music both as a business man but mostly as a true music lover. It was an overwhelming experience for me to go from a penniless street performer hoping to scrounge enough money for a sandwich and bus fare to living in a beach house in Malibu and receiving the VIP treatment. Admittedly, I was unprepared but I was fortunate to have a patient navigator as a producer.

As a record producer, Lou has been instrumental in shaping America’s sound. His work has contributed to the creation of some of the greatest and most influential music in a century from soul singer Sam Cooke, to well-known “hippie” acts like the Mamas & the Papas. He was also a key producer of the historic Monterey Pop Festival in 1967 which assembled one of the most awe inspiring line-ups in rock ‘n’ roll and provided Jimi Hendrix and The Experience an opportunity to showcase the band’s live performance in such a way as to become the stuff of legend. As owner of the Roxy Theatre, a staple of the Sunset Strip, Lou rooted West Hollywood in rock ‘n’ roll.

In 2013, in recognition of his contributions, Adler was finally inducted into the Rock ‘N’ Roll Hall of Fame. Beyond the music scene, Lou has made excursions into other aspects of pop culture as producer of two films that would become cult classics, the “The Rocky Horror Picture Show” (1975) and “Up in Smoke” (1978) starring Cheech and Chong.

All of these accomplishments are, of course, the public Lou Adler. The private man is much more difficult to apprehend. A Google search on him doesn’t provide many more details than might fill a one page biography. His modest web presence, however, speaks volumes. His influence is far greater than his resume reveals. Without firsthand knowledge of the man, one might never fully grasp his deep love of music and of all things creative. Music aside, I know him to be a warm-hearted family man and philanthropist whose generosity is humbling. Unfortunately, charitable work doesn’t grab headlines in the same way as winning Grammy awards.

While no man of such accomplishment is free of critics or controversies, Adler has masterfully managed his professional career and private life with a grace reminiscent of a different time when Hollywood was more elegant. As both a songwriter with first-hand experience of the man, and as a journalist and student of American culture, I’m proud to know Lou and wish him a very happy birthday.

Batman’s Georgia Peach: SGM Wishes Kim Basinger a Happy Birthday
12/12/2014

Batman’s Georgia Peach: SGM Wishes Kim Basinger a Happy Birthday

Southern Gothic Magazine wishes to extend a happy birthday to Kim Basinger, who turns 61 this month. Born on December 8, 1953, in Athens, Georgia, Basinger is best known for her performances in “8 Mile” (2002), “L.A. Confidential” (1997) and “Batman” (1989). This month also marks the 25th Anniversary of Tim Burton’s revitalized screen rendition of the caped crusader in which Basinger played Vicki Vale, a photojournalist who reported on Batman’s activities in Gotham City. The character Vicki Vale first appeared the comic book Batman #49 (Oct/Nov, 1948).

25 years on, Basinger has maintained an active career since the 36 year-old starlet co-starred with Michael Keaton as Batman’s love interest. In the excellent film “Birdman” released last November, Keaton explores concepts of fame, youth and what it means to have “been somebody.” After contacting Basinger’s Public Relations firm, we are anticipating an exclusive interview with the film star to explore similar questions.

Presently, Basinger is rumored to be working on a new film “The Nice Guys” described as a mystery in which a Los Angeles private detective investigates the su***de of an aging p**n star during the 1970s.

Review: Netflix Original Series “Peaky Blinders”
12/12/2014

Review: Netflix Original Series “Peaky Blinders”

by SG Staff

Last month concluded the second season of Peaky Blinders, the acclaimed Netflix Original Series set in 1919 Birmingham, England. The series depicts an infamous street gang, run by the Shelby family, who struggles to survive and prosper in the rapidly changing world of the emergent 20th century. The fictional Shelby family is loosely based on an actual gang known as the Peaky Blinders who derived their name from the use of razor blades they would sew into their hats and wield as a weapon to blind their victims. (For an article on the real Peaky Blinders featured in the UK’s Daily Mail, click here.) Combining stunning period sets with a very stylized cinematic look and a dark and contemporary soundtrack, Peaky Blinders fits in well with the growing popularity of the neo-gothic, late Victorian aesthetic.







The show centers on the Shelby gang’s leader, Tommy, a cunning cut-throat played by Cillian Murphy. He is the quintessential man of the twentieth century who avoids political controversy and tries not to take positions of principle in order to achieve his one over-arching goal: profit. With Tommy at the helm, the Shelby gang navigates an assortment of distractions loosely based on the history of the times. His brother battles post-traumatic stress from serving in the trenches during the First World War, his sister weds his best friend who happens to be a notorious communist agitator wanted by the police while Tommy himself is hounded by a ruthless police operative from Belfast played by Sam Neil who reports directly to Winston Churchill. Undaunted, Tommy confronts all of these challenges and more as he battles through working-class Irish enclaves sympathetic to the Irish Republican Army as well as Jewish and Italian gangs from London all to create a more profitable company.



Peaky Blinders is well written and produced, visually engaging and the acting is excellent but the melodrama is sometimes a bit overkill. The use of the contemporary soundtrack is also hit or miss. Choosing Nick Cave’s “Red Right Hand” for the show’s opening credits is well placed but, throughout the show, other alternative rock songs from the 1990s – excellent songs in and of themselves – seem forced and detract from the emotion of certain scenes. And while the historical accuracy is very low, the entertainment value is high in spite of the clunky combination of hyper-sexualized and incredibly violent action sequences, 1990s rock music and a late Victorian English setting. So, if you’ve got Netflix and you’re in the mood for a litany of dirty deeds and bloody brawls, Peaky Blinders is a satisfying bit of television.

According to BBC 2, Peaky Blinders has been picked up for a third season and will be bringing the show to the U.S.

“Baby on Nail” and Other Racist Musings: Baldwin Lee’s ‘Black & White’ Exhibit Elicits Questionable Reviews
12/12/2014

“Baby on Nail” and Other Racist Musings: Baldwin Lee’s ‘Black & White’ Exhibit Elicits Questionable Reviews

by J.D. Thompson

In the November/December 2014 edition of Artscope (self-described as “New England’s Premier Culture Magazine”) Brian Goslow’s review of Baldwin Lee’s “Black & White: Photographs from the American South” is pretty much what you would expect from a bunch of Yankee art snobs. But before delving too deeply into the article, I’d like to be clear: Lee’s photography isn’t “bad” per se. The photographs are fine and I believe it is indeed important to reveal the inequalities that still pervade American society just below the surface. I’ll go further and acknowledge a benevolent impulse as a motivator in his work. But what I found most shocking about the exhibit is not the fact that poverty still exists in black America (one would have to be blind not to see this glaring reality); rather, what’s most shocking is that the people reviewing the exhibit betray the (unconscious?) racism that pervades even the most liberal of the liberal art establishment.

After reading and re-reading Goslow’s article, one might think that the fine folks of New England’s artist communities have only recently become aware of the fact that there are many suffering and impoverished peoples in the United States – especially in the South. (It’s also noteworthy that the photographs were taken in the 1980s so this is not a newsflash.) But what is truly outrageous about the review is the barrage of thinly veiled racist remarks throughout. For instance, take the comments by Monika Andersson, assistant director of the Groton School’s de Menil Gallery who said: “I am impressed by the sheer guts it took [Lee] to enter into each situation, to stand face-to-face with people of such poverty, and showcase the beauty of their humanity and spirit in the midst of squalor.” Comments such as these betray the elitism of the entire exhibit which parades itself as something educational and progressive but, in actual fact, describes the subjects of Lee’s photographs as one might describe animals encountered on a safari. Goslow himself seems shocked by the fact that blacks are in fact fully human and have found ways to adapt and enjoy their lives to some extent in spite of their circumstances. He writes, “The people portrayed in Lee’s images seem to celebrate and embrace life in surroundings most call condemnable…” Comments such as these beg the question, ‘What would you expect, Mr. Goslow?’

The commentators featured in the review seem surprised that the human subjects used as grist for the exhibitionists are not so stricken by their circumstances that they have any remaining sense of humanity or dignity about them at all. It’s as though Goslow and Andersson expected all the poor Southern blacks to be strung-out on drugs, imprisoned or crippled in some other way as a result of their grieving and yearning for the lifestyles of the enlightened middle class. Of course the commentators are delighted to see that, in spite of the plight suffered by those in Lee’s photos, the black folks in these communities are somehow able to scrape out a meager existence. The exuberance of both Goslow’s and Andersson’s comments become more insidious when one takes their attitudes to their logical conclusions; that is, when Goslow and Andersson rejoice at the sight of people experiencing such “hardships” engaged in little enjoyments like a game of basketball or laughing with their children, they are in essence admitting that they expected to find poor blacks behaving more like animals and less like the human beings that they are. The fact that Lee, Andersson and Goslow are surprised by their subjects’ humanity only reveals the extent of their disconnect from the hardships they romanticize and the level of their own elitism.

What’s worse, Golsow’s piece reinforces two deplorable strains of thought popular amongst the American middle and upper classes: first, they uphold the notion that misery is but a state of mind which can be overcome regardless of external circumstances like poverty. Second, that impoverished people – especially blacks – are so unrefined (unevolved/unintelligent, etc.) that they can somehow manage to find enjoyment even in their pitiful lives (whereas the likes of Lee, Andersson and Goslow would surely be unable to rise from their beds knowing that they had only such meager means of enjoyment).

What is the final conclusion that readers might take away from Goslow’s article? That the liberal art establishment is in fact full of good and caring people who would be so bold and brave as to stoop to snap shots of poor blacks for the titillation of their wine sipping, cheese-huffing Yankee friends and (more importantly) that there’s really no concrete action to be taken by them because the “people of such poverty” are quite satisfied in their “squalor.” In other words, they have absolved themselves of any further responsibility in solving these problems and, perhaps inadvertently, reinforced the stereotypes that perpetuate the policies that create the problems in the first place. The patronizing and exhibitionist attitude of the entire project is a disgrace and pales in comparison to genuine photographic projects such as the L9 Center for the Arts which not only documents conditions but also actively participates in uplifting those suffering while highlighting the systemic source of their challenges.

25 Years Later, The Jesus Lizard still sets the standard
07/12/2014

25 Years Later, The Jesus Lizard still sets the standard

by J.D. Thompson

Rock ‘n’ roll today is a pitiful shadow of its former self. The fact that the group Mumford & Sons somehow managed to become known as a “rock band” is, to use a label applied by Alice Cooper, an “offense.” (That’s putting it politely, Alice.) If you too have had enough of today’s playground melodies with high-school musical arrangements and lyrics with the sophistication of nursery rhymes, then do yourself a favor, step back in time a few years, and follow The Jesus Lizard down into the rabbit hole. There you’ll find a healthy dose of heavy guitars fueled by cheap beer – where good bands often draw blood and banjo-picking yuppies in corduroy are better off staying home. If you’re saying to yourself right now, “Hey, I kinda’ like Mumford & Sons, then don’t bother reading this; go enjoy a nice bowl of lentil soup and put on some of your dad’s Simon and Garfunkel collection on vinyl lest someone hurt your feelings or your ears.

Still, with me? Atta’ boy.

25 years ago, in 1989, The Jesus Lizard released their debut EP Pure. The musical genre the band helped to pioneer has been described as “noise rock” and “industrial” rock and is attributed with being one of the founding bands in what later became described as “Post-punk.” Label- mongering aside, the band was part of one of the least understood yet most influential movements in the evolution (or de-evolution) of rock ‘n’ roll that really defies categorization.
The musicians were capable and skilled but their sound was unrefined and willfully punishing. Their lyrics were somewhere between dark poetry and drunken ranting but they captured something that was right for the times. They were fiercely independent and utterly unconcerned with pandering to commercial interests. At risk of using a cliché, they played what they felt. And in this sense, it could be argued that those from the “noise rock” scene really are the purest form of American folk music from the period in the strictest sense of “folk.”

The Jesus Lizard was originally formed in Austin, Texas by perhaps one of the most innovative guitarists of the era, Duane Denison. As the story goes, Denison approached David Yow of the equally innovative and even noisier Austin band, Scratch Acid, to play bass on several songs he had written. Yow instead recommended that he perform vocals and that Scratch Acid bassist, David Wm. Simms, play bass for the recordings. The trio developed their unique sound in Austin initially using a drum machine and laid the foundations for what would become their initial group of recordings featured on the “Pure” EP.

Yow and Simms travelled to Chicago with Denison following shortly after. The band then linked-up with producer Steve Albini to create “Pure” which was released later that year by Touch & Go Records. The initial release went largely unnoticed in the rock world and those who were tuned-in offered mixed reviews. But in Chicago’s growing hardcore scene, The Jesus Lizard was quickly becoming the stuff of legend.



Their first show in Chicago happened on July 1, 1989, at a restaurant called Bangkok Bangkok where they opened for Slint and King Kong. Guitarist Duane Denison’s guitar work was both elegant and searing. David Yow’s vocals often sounded like something that one might hear screaming from the basement in a horror movie but, in spite of his blood-curdling tones, Yow maintained the drawl and swagger of his Texas roots with panache and control. And thought the band utilized a drum machine during this period, its cold industrial pounding combined with bass work (and incredible tone) of David Wm. Simms created a unique sound that had more in common with the rhythm and roar of a diesel engine tearing down the highway than a traditional rock rhythm section.

Today, 25 years later, The Jesus Lizard still sounds fresh and unpretentious and while there are moments that blur music and audio assault, their debut EP is an essential collection of tracks for anyone who wants to understand the full spectrum of rock ‘n’ roll.

Southern Gothic Magazine - The Armed Society: A reflection on the birth of democracyThe right to bear arms was codified ...
07/12/2014

Southern Gothic Magazine - The Armed Society: A reflection on the birth of democracyThe right to bear arms was codified by Second Amendment to the United States Constitution on December 15, 1791. The Bill of Rights to which it belongs remains one of America’s most cherished documents defining the freedoms of an independent nation. And while many Americans believe that we “invented” this

The right to bear arms was codified by Second Amendment to the United States Constitution on December 15, 1791. The Bill of Rights to which it belongs remains one of America’s most cherished documents defining the freedoms of an independent nation. And while many Americans believe that we “invented” this right, similar legislation actually predates its appearance in the United States by over a century.

On December 16, 1689, the British Parliament adopted a piece of legislation called An Act Declaring the Rights and Liberties of the Subject and Settling the Succession of the Crown. The British people called it The Bill of Rights. It was created in the aftermath of the Glorious Revolution in Britain to address issues of the British constitution and outline certain rights. The bill guaranteed that there would be:

• no royal interference with the law. Though the sovereign remains the fount of justice, he or she cannot unilaterally establish new courts or act as a judge.

• no taxation by Royal Prerogative. The agreement of the parliament became necessary for the implementation of any new taxes

• freedom to petition the monarch without fear of retribution

• no standing army may be maintained during a time of peace without the consent of parliament.

• no royal interference in the freedom of the people to have arms for their own defence as suitable to their class and as allowed by law

• no royal interference in the election of members of Parliament

• the freedom of speech and debates or proceedings in Parliament ought not to be impeached or questioned in any court or place out of Parliament

• "grants and promises of fines or forfeitures" before conviction are void.

• no excessive bail or cruel and unusual punishment may be imposed.

Several of the provisions within the Bill of Rights were direct indictments of King James’s actions as monarch which causing him to leave England. His flight was deemed an abdication of the throne which later became one of the historical memories that emboldened those living in Britain’s American colonies to launch a revolution of their own almost a century later.

The right to possess weapons for the defense of the people was codified and foreshadowed the right to keep and bear arms as declared in the Second Amendment of the U.S. Constitution. However, the weapons that one might equip during the late 17th and 18th centuries are nothing in comparison to the weapons of today. This fact has been pointed out regularly by contemporary proponents of gun-control in the United States. But when we place the debate within its historical context and recognize that the “freedom of the people to have arms for their own defence as suitable to their class and as allowed by law” was design for the express purpose of ensuring that the people have the means to defend themselves from autocratic and tyrannical governance. Logically, that means that the people would require weapons every bit as sophisticated as those of the state. With this understanding, it seems that many Americans on both sides of the “gun control” argument are missing the essential point.

Granted, there are weapons in existence today that were inconceivable even a century ago which should not be possessed by any individual or institution, government or otherwise. Nuclear and biological weapons and other weapons of mass destruction cannot be said to be weapons of self-defense because they are indiscriminate. They are weapons of geopolitics designed for threatening and killing large sectors of an “enemy” nation’s population. But other modern weapons, like “assault rifles” or high-powered rifles with high-capacity magazines (long-range guns that can fire lots of bullets before reloading) are a stickier subject.

In the wrong hands, an AR-15 rifle with an effective range of up to 547 yards and (in a fully-automatic version) a rate of fire of 800 rounds per minute can have devastating effects. Even when handled legally and responsibly, such a weapon seems a bit excessive for hunters or even those who keep a gun in the home to ward off intruders. But then, a closer look at the historical development of the right to bear arms says nothing about hunting or protection of the family home. To be precise, the logic of the Second Amendment of the U.S. Constitution was the same as its 1689 English predecessor: simply put, the people mistrusted their government and, to ensure that their new democratic institutions maintained their integrity, the revolutionaries believed that it was prudent to maintain an armed populace for the safeguarding of the public’s own interests. That, in essence, is what the gun-control debate is about; and historically speaking, it was perhaps one of history’s greatest displays of trust between policy-makers and the people.

For politicians who pander to those afraid of school-shootings and such, we should respond with the facts. Add up the number of random shooting massacres in the United States since the first automatic rifles were commercially available to civilians. The number of deaths, while horrific, pales in comparison to the number of deaths caused by, say, improper use of automobiles, drugs or alcohol. Ironically, many of the same groups advocating prohibition of “assault” rifles are actively campaigning for the legalization of many drugs and would surely laugh at the idea of re-instituting the prohibition of alcohol. If the real motivation propelling gun-control advocates is protection of innocents, why is that the Democrats aren’t pushing for higher regulatory standards and consumer protections that would outlaw the use of known carcinogens in consumer product? Why is it that those pushing for restricting gun-ownership in the United States are not also pushing to end the use of weapons of mass destruction by our allies in the Middle East? The point is that, of all the problems facing society today, both inside and outside of the United States today, gun violence is merely a symptom – not the cause.

Of course most politicians working the issue, both the advocates of gun-ownership and the advocates of gun-control alike, are intelligent enough to know this. But the debate over gun ownership has proven to be a very useful election tool that allows both parties to deflect questions into the deeper issues challenging our society – issues of institutionalized racism, class inequality, environmental degradation, the private prison industrial complex, peak oil, the war on terror, warrantless government wiretapping of citizens, etc.

The heart of the matter is this: gun rights were conceived to ensure the peoples’ ability to defend their rights from would-be tyrants. As Machiavelli notes in The Prince: “When you disarm the people, you commence to offend them and show that you distrust them either through cowardice or lack of confidence, and both of these opinions generate hatred.” Perhaps then the answer is not to disarm the people of the United States – an expression of the politicians’ distrust of the people – but to disarm the everyday police patrolmen and cause the state to lead by example.

Just as we once emulated our European forefathers in arming our citizens, perhaps it is time to begin emulating them again in disarming our police and allowing only the most specialized units to use fi****ms with a judge’s order. If we want a more peaceful society, we will not achieve it by inventing an ever expanding array of weapons and tools of oppression, either lethal or non-lethal. Likewise, we won’t achieve it by widening the rift between powerful state and corporate institutions and the civilian population by disarming the latter. Instead, we should begin working toward the model of policing used in Britain and Ireland.

If such shifts in policing policy are not open for discussion, then it will be difficult to convince the people of the United States – especially in light of the killings of Trayvon Martin, Michael Brown and others by police officers – that now is the time to take guns away from Americans.

05/12/2014

The Thompson Submachine Gun December 2, 2014 Leave a Comment This December marks the 154th anniversary of the birth of John T. Thompson, a U.S. … This December marks the 154th anniversary of the birth of John T. Thompson, a U.S. Army officer best known as the inventor of the infamous Thompson submac…

Love, Crime & Other Trouble: An Interview with Charming Disaster
05/12/2014

Love, Crime & Other Trouble: An Interview with Charming Disaster

Love, Crime & Other Trouble: An Interview with Charming Disaster December 1, 2014 Leave a Comment First, let’s state the obvious: Charming Disaster isn’t from the South – in fact they’re … First, let’s state the obvious: Charming Disaster isn’t from the South – in fact they’re from New York City – b…

05/12/2014

Love, Crime & Other Trouble: An Interview with Charming Disaster December 1, 2014 Leave a Comment First, let’s state the obvious: Charming Disaster isn’t from the South – in fact they’re … First, let’s state the obvious: Charming Disaster isn’t from the South – in fact they’re from New York City – b…

05/12/2014

Blackie: The Fast Lives of David Giordano-Steece December 1, 2014 Leave a Comment Photography by Bach Razaev. www.bachimagery.com Courtesy David Giordano-Steece. “Gangsters” have captured America’s imaginations for almost a … Photography by Bach Razaev. www.bachimagery.com Courtesy David Giordano-St…

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