worn in red and an icp treat for you juggaloes

April 18th, 2010 · 68 Comments · By

Worn in Red is playing at The Jefferson tonight. No Idea! records in Gainesville, Florida put out their most recent release and that’s a pretty big deal. They’ve since been hyped in AP magazine, which you can have a glimpse at here. Nailgun founder and Eardrum curator John Ruscher actually used to be in Worn in Red, which seems kind of strange.

It makes sense for them to play with headliners Against Me! since they got their start on No Idea. In my opinion they quit releasing listenable music when they left the label. I actually saw them in 2002 at a Mexican restaurant in Lynchburg during a blizzard. The show should have probably been canceled and we all risked our lives getting there but we persevered because we were so excited a band we liked was coming to town (that never happened in Lynchburg back then.) It was a really exciting event at the time and my English teacher even gave us extra credit for going to the show. I don’t really know what they’ve been up to since 2003 but they did play at Plan 9 in Richmond yesterday with my absolute favorites: The Super Vacations. Also on the bill tonight are Dead to Me and Money Brother.  Doors are at 7 and it’s $15.

On an unrelated note, I was exposed to this Insane Clown Posse gem yesterday and I have pretty much been laughing ever since. How is this not a Lonely Island song?

Tags: preview · rants & rambles

68 responses so far ↓

  • 1 Sarah // Apr 21, 2010 at 6:39 pm

    when i initially wrote this post i commented on how i thought it was terrible that the band who got the biggest break in town this year wasn’t even mentioned in the hook’s issue. i immediately removed it after concluding the remark would elicit what it has indeed stirred up!

    when a publication makes a ‘best of’ list with screwy determinants and limited scope such as the hook’s music issue, they’re consciously asking for feedback like the above comments.

    there are lots of things i think are wrong with that issue but i still think worn in red’s absence was #1. they don’t get the love they deserve.

  • 2 Andy // Apr 21, 2010 at 7:38 pm

    i don’t think the article was intended to be a “best of”? the title is:
    Behind the Local Music: 12 bands to watch in 2010

    And dang, I got slammed at the other discussion for liking Soundgarden? Ouch.

  • 3 Bradical // Apr 21, 2010 at 11:05 pm

    You’ll always be my Spoonman, Andy.

  • 4 Sarah // Apr 21, 2010 at 11:44 pm

    ‘best of’ or ‘bands to watch’ — title doesn’t quite touch what i’m pointing at. i’m discussing content and several of these bands have been around longer than this article suggests. they deserved attention long ago and a band like worn in red hasn’t received their due.

  • 5 Sarah // Apr 21, 2010 at 11:50 pm

    also, vijith, it’s funny you would make fun of me for immediately deleting something after i posted it when you are notorious for deleting comments made by danny shea on the satellite ballroom article and by countless others on the j.tillman article.

  • 6 Vijith Assar // Apr 21, 2010 at 11:58 pm

    Notoriety or not, I didn’t actually do either of those things and don’t see any record of those comments when I log in. And I didn’t mean that it was a bad idea for you to edit your post, I just meant that Dom’s glo-fi joke (which I thought he meant was the line you had deleted) was great.

  • 7 Sarah // Apr 22, 2010 at 12:07 am

    we all know you deleted comments! maybe there’s no record because you deleted them?

  • 8 Vijith Assar // Apr 22, 2010 at 12:28 am

    Well gosh, when you put it that way. I certainly can’t argue with logic like that, or the lack thereof.

  • 9 NICO ESPECTACULAR! // Apr 22, 2010 at 2:12 am

    Nice thread yall.

    Remember when GWAR was up for a Grammy? It was beautiful, Entertainment Tonight interviewed them and asked GWAR what they thought of the process. To which they replied…

    ET: So what do you think of GWAR being nominated for a Grammy?
    GWAR: It is like having accolades bestowed upon you by a retarded child.

    Music is arbitrary. Thousands of promising bands disappear into the ether before they get a break or hope for a break, and hundreds of lousy bands get a break before they are any good. Is “making it” having a song in a skin cream commercial? That is up to the people involved.

    Nobody lives in Charlottesville to further their dreams of being a “made” band. This is no hot-spot, the genre of touring regional acts that actually play in this town are determined by past turn-outs of said genre. Frankly this town only supports a few right now, and last 2-3 years of shows are gravely lacking in the realms of metal/heavy/hip-hop/jazz/experimental. And this is simply a product of who is here, and who shows up. Nothing to get upset about, you cannot choose who lives here and who decides to leave here.

    Charlottesville is typically boring and safe. As is our music. There are a few great bands/performers that crank out music with a real visceral drive, and there are plenty of bands you have heard before under another name even if the performers were unaware.

    And as far as there not being more women in the mentioned in this widely discussed article it is simply an imperfect survey of an imperfect music scene.

    I live here because I like going on my porch in the morning, drinking my coffee and staring at the mountains. I do a killer Roy Orbison, am I up-and-coming? I have no idea.

  • 10 slug // Apr 22, 2010 at 8:22 am


  • 11 Vijith Assar // Apr 22, 2010 at 12:27 pm

    I think a lot of the detractors here are missing a key point about what we did and why: we’ve been talking all this time about diversity of musical genres and which bands were included, but it’s also valuable to have diversity in concept, approach, and execution of the article and its format. Which is to say, there are many different ways to do an Annual Music Issue, and not all of them are about encyclopedic summaries or equal distributions or trying to just take one more slightly different slice of the same rainbow-colored stylistic layer cake each year.

    I’m doing this from memory, so bear with me and please forgive me if I get a little mixed up. 2004 was a cover story, normal in every respect, about the Hackensaw Boys’ new record deal and a big accompanying tour. 2005 was, as I mentioned, just a huge catalog of every Charlottesville band, musician, or songwriter I could possibly find, with very short descriptions for each. (Amusingly, that list was later plagiarized by the Dave Matthews Band and used for a sort of “we support hometown musicians” section of their web site.) 2006 was my mammoth transcription of an in-person panel discussion organized by Damani Harrison, wherein the participants sat around a table in the Hook offices after hours, drank the beer we had bought them, listened to some of the more noteworthy local album releases of the past year, and commented on both the records and the context while I typed away furiously trying to get it all down. 2007 was again a regular cover story, this time contrasting the new management deals that had been struck with Red Light by Sons Of Bill and Sparky’s Flaw/Parachute. 2008 and 2009 were an “ask the expert” format curated by Lindsay Barnes where each panelist was introduced and then asked to share some thoughts about two or three favorite acts, with redundant choices if necessary as long as the commentary was different.

    Stephanie’s article also used an “ask the experts” format, but she looked for intersections in the nominations. This homogenized things quite a bit and got rid of the outliers, which is where you’d find most of your hip hop and metal, but it also reduced the redundancy of multiple people repeatedly commenting on the same band, which in turn saved enough space to allow the Q&As. That gave the bands an opportunity to inject their personalities rather than just being passive subjects for some other guy’s commentary, and whether or not Brad or anyone else thinks it’s a good piece in the grand scheme of things, it’s certainly an interesting read. From the list above, I’d say the 2010 and 2006 articles are about tied for most engaging.

    While each story can then succeed or fail based on the writer, the participating bands, and the other outside voices if applicable, you’ll have a hard time convincing me that any of these approaches are inherently invalid or inappropriate. We wouldn’t have even had a problem with running a single-issue cover story again if we thought we had something on hand that could command it. There are many ways to take a snapshot, and not all of them are panoramas.

  • 12 Bradical // Apr 22, 2010 at 3:54 pm

    “This homogenized things quite a bit and got rid of the outliers, which is where you’d find most of your hip hop and metal…”

    The extent to which a genre is an “outlier” is a function of the diversity of the panel. I’m not missing the point that your article was not meant to be inclusive. You seem to be missing the point that many “detractors” legitimately think this narrow method and cutesy format was crap, DESPITE understanding that you intentionally used it. We get it – you want to be whimsical and “quirky”. But to some of us, it just feels like lazy “puff” journalism (and it ain’t just me, please believe). But I thought we agreed to disagree already?

    Bottom line – I want local music coverage to be the best it can be. Nailgun and C-ville are both doing a pretty good job, and put a lot of thought and substance into their work. It seems that The Hook is more interested in image…I mean, what did I really learn about those bands’ approaches to songwriting, lyrics (if applicable), touring, or their group dynamic from that article? Nada. It was mostly fluff questions designed to elicit oh-so-zany one-liners. I fully understand that some people are fine with that. But I think it’s a pretty shallow and pointless way to showcase musical artists.

  • 13 Vijith Assar // Apr 22, 2010 at 5:33 pm

    Brad, you absolutely were missing that point through most of this thread, quite spectacularly actually, as were several other people. And now that I guess I’ve made things a bit clearer in my last comment, we instead get empty newspaper-needling fallback phrases like “puff journalism” and “more concerned about image”, which quite frankly are far lazier writing than what we do (but that’s OK, doing that sort of thing well is not your job, it’s ours). It’s understandable that you, as a musician in a touring band, would want to learn more about things like songwriting and “approach to touring,” and we also do that sort of thing regularly, like the articles in this week’s issue about Trees On Fire and The Cinnamon Band. I can totally sympathize with your frustration, since my own musical background includes a lot of music theory and audio engineering and other things which I rarely get to write about, but the vast majority of readers and listeners can indeed connect well enough with personality, which they get here in spades.

  • 14 Bradical // Apr 22, 2010 at 6:29 pm

    “Brad, you absolutely were missing that point through most of this thread, quite spectacularly actually, as were several other people.”

    Well I guess we’ll have to just agree to disagree then (again). But by all means, keep dismissing/patronizing me and other folks who disagree with you in that manner though. It’s a great way to alienate people.

    And to clarify, those aren’t “fallback phrases” if they accurately describe your approach to the article. You’ve already acknowledged that you were more concerned with pretty pictures and quirky answers (post #42). That Cinnamon Band article is much better in comparison, but you can’t blame people for paying more attention to your annual MUSIC ISSUE when critiquing your approach to covering music.

    This is getting a bit ugly, and it’s not like you’re ever going to admit that your approach to that issue was even slightly ill-conceived, so I’m gonna try to avoid responding anymore unless there’s new ground to be covered. In the future, I hope The Hook’s music coverage avoids the approach it took with the annual music issue.

  • 15 Vijith Assar // Apr 22, 2010 at 6:47 pm

    No, Brad, Stephanie and I both really do appreciate the discussion here and I hope you’ll stick around to continue it, because your insights are productive even if I don’t agree with them. And yes, we can just agree to disagree on a couple of these points, because you’re clearly not part of the audience for this article — but that also doesn’t mean it doesn’t exist, isn’t sizable, or doesn’t get what they need from it. We use a variety of different approaches in our posts and articles, and I don’t think a lighter approach in one place should thoroughly invalidate us any more than a totally serious heavyweight approach elsewhere should permanently legitimize us. And for anybody else with the same criticism, your point is well taken even if I don’t see it as a catastrophic failing; should you need further evidence for it, I’ll freely admit that we sometimes do much sillier things than the music issue.

  • 16 John // Apr 22, 2010 at 7:17 pm

    Being in New York and fairly detached from the details of things going on in C’ville, I’ll refrain from jumping into this discussion, but I did want to say that I find it amazing and awesome that there are so many reasoned words being poured into this thread.

    There once was a time where no one ever commented on Nailgun. Now that people feel compelled to, I’m glad that everyone is doing it in a courteous and reasonable manner.


  • 17 Tara // Apr 23, 2010 at 10:44 am

    Vijith, I fail to see how Brad isn’t part of the audience for this article. In my experience there are 5 major components to a local music community: Musicians, media, venues, retail outlets, and the audience. Each component holds a certain level of responsibility for how their decisions affect the community as a whole. Besides the lack of diversity, this article’s “lighter approach” shows a lack of respect for the intelligence of both the musicians and audience. I’m referring specifically to the question about why there are no women in certain bands, and the questions about groupies.

    The former, although presented as “very much light-hearted,” is a loaded question. I read it as the author putting the bands in a situation where they are forced to defend a situation that may be out of their control and completely irrelevant to what makes a band successful. From a feminist perspective, I find it downright offensive. Hard-working women in music and most other industries want to be respected as peers, not just be included to fulfill an ideal or given special treatment to be a spectacle. The responses from the bands, as I read them, seemed very uncomfortable. If the author wants to illicit a a change in the male-female ratio of bands, I’m sure that she can volunteer at MRC, in the public schools, or at a Girls Rock camp.

    The questions about groupies show a lack of understanding regarding the motivation of men and women who play in bands. It lead me to question whether the interviewer either had so little respect for her interviewees, or if she understands what a groupie is. I know that some people throw the term around in the same way that the term pimp has, having been re-purposed for mainstream slang. However, just like with pimp, its origins of sexual and emotional dependence. Again, the responses were understandably uncomfortable to read.

    While music is about fun and entertainment, it must be understood that for many involved, this is a livelihood. I ran a venue, I booked, I worked at a record store, I’m the spouse of a touring musician, and a regular attendee of shows, so I understand how the components mentioned earlier affect one another. We all make mistakes, but if a community is going to be successful, the motivations of those involved cannot be entirely personal. I wasn’t a huge fan of most of the bands I booked, but we kept it diverse because it was good for business, and kept the venue open. I played what my customers wanted to hear in the independent record store where I worked. I see bands in genres that don’t particularly excite me because it allows me to better understand the community. I also believe that it is possible to write about music in a way that’s appealing to the masses.

  • 18 NICO ESPECTACULAR!! // Apr 23, 2010 at 2:34 pm

    My favorite sentence in the entire Hook article, is the third one.

    “A rough’n’tumble UVA band named Sparky’s Flaw …”

    I won’t finish the quote, because it is irrelevant. But those 7 words put me into absolute, tears-welling up, hysterical laughter.