In its first year, Hangout Music Festival among nation’s finest festivals

Gulf Shores shines as beacon of hope for entire coast during the oil spill crisis

By Rusty Odom, Lauren Fyfe, Sarah Machin, Annie Wise, Jay Tomson & Marcus Haley

   There’s an unmistakable feeling that comes with that first step into the sand. All troubles dissipate. It’s like pressing reset on the conscience. There’s a similar emotion that consumes the body with familiar live music. The two can be quite similar, but for some reason they have always been kept separate, until now.

   When it came to the case of Gulf Shores’ first ever large-scale music festival, hiccups became part of the process. But last second artist cancellations couldn’t stop this weekend of music and neither could afternoon tornado warnings. Not even a nearby deep-water horizon oil spill could stop it.

   The original idea for the first EVER large-scale music festival on the beach came from another annual event that takes place in Gulf Shores called “The Shrimp Festival.” That festival occurs in various parking lots throughout the beach community. Shaul Zislan, owner of the Hangout Restaurant in the heart of Gulf Shores, wanted to expand on the idea, with hopes of incorporating the beach.

Zislan began to search for people who shared his vision. He reached out to Huka Entertainment’s AJ Niland and as the two walked across the pristine sand just outside of the Hangout restaurant’s walls, the embryo for a full-scale musical festival was created.

“AJ and I started brainstorming about the possibilities,” Zislan told BLANK at the festival. “He’s the industry expert, so once he said it was feasible, I went to the mayor and the city council and got their verbal support.”

“The local support was contingent on us giving them a plan that made sense,” he said. “Once they saw how strong the plan was and they approved it, that’s when we realized, “Hey, we’ve got something here.” It would be December of 2009 before all of the red tape was sliced and all permits cleared. The festival was a go, but time was against the organizers. 

“Realistically, we put this all together in three months,” explained Zislan. “We got most of our permits in December, and then it was the holidays, so we basically started in January.” By mid-April, the footprints of the festival were firmly in the sand.

“AJ deserves all the credit for the musical lineup as well as the production lineup,” urged Zislan. “The production team is just as important as anything else. I know the artists get most of the credit, but the people who set these things up behind the scenes, they are rock stars as well.”

These uncelebrated “rockers” had accomplished quite a feat, and were ahead of schedule, and then another obstacle quite literally burst into the equation. 

The Oil

When word broke about the oil spill on April 20^th, the people of the gulf coast were devastated. Most of the areas projected to be affected by the oil slick were just catching their breath from the devastation that Hurricane Katrina brought less than five years ago. 

The fishing industry in the Gulf prepared for a year full of tainted product and regulations that would decrease the size of their workplace to nothing.

All the while, Hangout Festival organizers worked around the clock to make sure the festival was still feasible but, more importantly, they wanted to make sure the celebration was still appropriate. In the grand scheme of things, an experimental first-year music festival didn’t seem to matter. And on the surface, it didn’t. But those behind the Hangout saw an incredible opportunity to bring attention to the beauty of the oft-forgotten coast. 

As the estimated belches of oil grew daily, the mood of the gulf’s people became increasingly dire. 

By the middle of May, Vacation cancellations had reached 35% in Gulf Shores. The oil was scaring people away, even though the beaches and surrounding oceans remained completely unaffected by the spill.

Local businesses were wringing their hands with doubt, as were the hundreds of vacation realtors in the area. The Gulf Coast was reeling, from the wetlands of Louisiana to panhandle of Florida. Most people, or in this case, organizations, would have given up.

Instead, Zislan, Niland and the gathering of optimistic souls behind the Hangout Festival pressed on. The people organizing the festival used the assemblage of musicians, fans and activists as a unitary torchbearer for the entire Gulf Coast, proving to tens of thousands of first-time Gulf Coast visitors that this area and its livelihood is worth saving.

 Environmental activists Kathleen “Kick” Kennedy and Erin Brockovich came to Gulf Shores to take in the weekend of music and spoke to the beauty that the area possesses. “I’ve searched the world for beautiful white sand beaches and who knew they were basically in my own back yard,” Brockovich said at a sun-drenched press conference in a Surf Style parking lot. “I think that everybody in this area knows the value of what they have here. Everyone here knows it’s worth preserving.”

People from 46 states had come to the southern tip of Highway 59 to celebrate the marriage of music and ocean. Not only did these festival attendees provide a much-needed economic boost to the area, they all shared Brockovich’s sentiment.

The Hangout Music Festival was giving the Gulf Coast a much-needed shot in the arm. It would provide even more with its benevolence.

Two weeks before the beach ball was set to open its gates, Zislan announced that all of the event’s profits would go to Gulf coast protection and restoration efforts in light of the oil disaster. With this groundbreaking revelation, the festival was much more than music and arts….The Hangout had a purpose.

“When the deep-water horizon oil spill came into play, it was apparent that we needed to go all out and donate these funds appropriately,” said Zislan.

“It’s like a farmer who doesn’t eat his crops the first year. You want the roots to be strong for the future. We planted a seed with this festival and now we have to nurture it.” Zislan explained that he will send the money wherever it’s needed along the coast, but as oil slowly invades the white sands of Gulf Shores, the proceeds may stay close to home. “We have to give back to this beach first, no matter if it’s here or in Louisiana or Florida,” he said with a matter-of-fact appreciation.

Behind Zislan’s decision, everyone who had purchased a ticket had become a part of the solution.

The Music

The crashing of four-foot waves owned the ears of festival-goers as they rushed onto the pure sands of the Alabama coast just after noon on the festival’s opening day.

Attendees hardly had time to take in one of the most unique venues in music history before Davy Knowles and Back Door Slam struck their first chord. Knowles was the first of several breezy surprises of the weekend. Along with BDS, he played a wonderful blend of bluesy southern rock in front of a few hundred sun-drenched people who were just looking to hangout. Knowles chose Crosby, Stills, Nash & Young to conclude the first-ever set of the Hangout Music Festival. With a giddy sense of reverence, everyone in attendance knew that this weekend was going to be the real deal.

Orianthi was chosen as the first act on the main stage (dubbed The Hangout Stage) and kept the energy high with jaw-dropping guitar solos. Now solo, Orianthi was handpicked by Michael Jackson to perform on the ill-fated “This is it” tour. As expected, she played one of Jacko’s songs before finishing her set with her radio hit “According to You.”

Jeff Austin hit the Playstation stage for its genesis show as Orianthi was railing her last extended guitar solo. Austin is best known for his work with Yonder Mountain String Band, but decided to bring friends to Gulf Shores, one of which was acclaimed flat-picker Larry Keel. Bluegrass magic ensued throughout his hour and a half set.

The North Mississippi Allstars duo was comprised of brothers Luther and Cody Dickenson and visited a higher tempo than do most NMAS sets. Washboard solos, dueling drums and the like made the band of brothers sound just as good if not better than normal, and they even played a couple of the songs they worked on in the motion-picture, “Black Snake Moan.”

As the newest traveling member of The Black Crowes, (Luther) Dickenson wasn’t done for the day. He, along with the Robinson brothers and the rest of the Crowes, performed a greatest hits concert, possibly due to the fact that the iconic modern southern rock act is planning a lengthy hiatus from touring at the conclusion of their scheduled shows.

Instead of forcing less-noted and less-moving numbers as they sometimes do, The Crowes took their time on versions of “Jealous Again,” “Hard to Handle,” “Remedy” and “She Talks to Angels.”

Across the sand, Robert Randolph and the Family Band had completed a rousing beach-party, which featured the weekend’s first encore. Randolph also unveiled news that he will be featured on the upcoming Elton John/Leon Russell collaboration during the Hangout Festival. Meanwhile, folks were still dancing from the sounds of Memphis electronic pioneers Pnuma Trio. With each performance that took place, the momentum was building. The schedule had been accurately managed. Zislan was right. These production folks were rock stars.

Alison Krauss and Union Station was the act with the most widespread appeal to locals of the Gulf Coast, and it showed during her pleasantly crowded performance with special guest Jerry Douglas. As the moon traded the sun for the sky, Girl Talk played his signature mash-up of rock beats and current hip-hop. Those in need of an indie rock fix were warmed by versions of songs from Radiohead, Phoenix and Arcade Fire. With dozens of fans onstage dancing alongside DJ Greg Gillis, Girl Talk could have owned the benchmark moment of day one, had it not been for headliner Zac Brown.

With his jam/country hybrid, it’s apparent that Brown knows music and furthermore, has an appreciation of those who laid the groundwork for him. Just as likely to bring Jerry Garcia out on stage as he is Hank Williams, Brown has found a way to merge two seemingly impractical genres of music with success. His set went long and was filled with traditional country ballads, extended instrument duels and covers of Van Morrison, The Band and Charlie Daniels. As his band said their final thanks, a five-minute fireworks show put the cap on the first Friday at the Hangout Festival.

The music, however, would go on. The festival grounds were on a public beach, but the boundaries of the event included the Hangout Restaurant, which gave the festival its name. The noise ordinance forced the music to stop at 11:00 p.m. outside, so the party moved inside the eatery and bar for late night carousing.

Inside the Hangout Restaurant, Big Gigantic, Gift of Gab and Alex B were slated to play. A crowd waited just outside of the festival gates patiently for employees to allow entry into the Restaurant turned dance-hall. The theme inside the Hangout was immensely upbeat and these three hip-hop acts celebrated the genre with sets that seemed to go on forever.

Big Gigantic and Alex B (of Pnuma Trio) served as bookends of the after-party and each earned the respect of many virginal listeners. In fact, Big Gigantic may have been the most promising discovery of the weekend. Big’s addition of saxophone to the modern electronic sound is well placed even if unexpected (picture Pretty Lights with Charlie ‘Bird’ Parker). Alex B. is pursuing a solo career to accompany his role in Memphis-based Pnuma Trio and did nothing to sour his fans as the last performer of day one.

Though Jerry Jeff Walker and Jakob Dylan couldn’t make their flights to nearby Pensacola due to formidable weather in Texas, day two shined brightly on the already tanned festival. Indie musicians AA Bondy and The Whigs each owned the Playstation Stage when it was their turn, while The Funky Meters, Ozomatli, and Grace Potter and the Nocturnals all boasted large crowds at the sand stages.

“I was in awe the second I got up on stage. It’s Coachella on the beach,” said Potter. “It’s beautifully laid out and the fact that it’s located within a town in really integral. I love to see festivals play nice with the town. I’m really impressed at how the Hangout has kept their honor and not bombarded the area. I haven’t talked to one unhappy local person.”

Ozomatli, a Grammy winning MexiCali rock band from Los Angeles, showed their appreciation for the scenery by taking their show into the crowd, complete with drums, horns and cowbells. They followed the footsteps of the Preservation Hall Jazz Band, which had led the crowd on a musical march the previous night after joining Zac Brown for his final song. Ozomatli would not be the last band to interact so intimately with the fans on this weekend. In fact, musicians visiting the other side of the front-row became the norm at the Hangout. It was apparent that the fans weren’t the only ones who wanted to get their feet in the sand.

The largest day crowd of the weekend was owned by Rodrigo y Gabriella. Never before had anyone in attendance seen the Mexican duo seem more comfortable than they did on the sands of Gulf Shores. With ear-to-ear smiles, the pair of guitar virtuosos played for a dizzying hour and a half. The couple mixed ballads of well-known materiel with Spanish-spitting Tarentino-rock, and together, Rod y Gab produced the best show of the weekend.

The celebration of the guitar continued as the acoustic was traded for the electric when Gov’t Mule took the main stage next. Grace Potter joined Warren Haynes and company for Fleetwood Mac’s “Gold Dust Women,” which sent chills down the Alabama coastline. Meanwhile, Nashville’s Moon Taxi, potential jam-band of tomorrow, owned the largest Jambase (the fourth stage) crowd of the weekend.

The Roots didn’t miss a beat as the replacement for the scratched Flaming Lips and neither did the Preservation Hall Jazz Band, who subbed for Jakob Dylan in the 11^th hour. Potter and Haynes joined the PHJB for the most collaborative moment of the weekend on a rousing version of “St. James Infirmary.”

John Legend was Saturday’s headliner. He first walked off stage 45 minutes early. He returned and encored with hit “Ordinary People,” and then bowed away once again, to a crowd that wanted more. For those who were there to see Legend, they got what they wanted, but Legend didn’t win any new loyalty with his early exit.

In stark contrast to Legend, Keller Williams would go all night long in his sold-out Hangout after-show.

Through two days, the Hangout had been a success. Only Sunday remained, but the schedule had saved the best for last.

The final day of the Hangout fest started with promising funksters ALO and perennial soul quartet, The Blind Boys of Alabama. ALO are on their way up, while the Blind Boys of Alabama have seen it all throughout their decades on music’s map. As ALO broke into the chorus of the famous Prince song, “Purple Rain,” clouds took over the festival grounds. Within two hours, tornadic winds were blowing through surrounding counties and the festival was forced to evacuate all parties. Some worried that the remainder of the fest would be called off, but compared to the problems that stood in the way of the Hangout in the weeks and months previous, a little hard rain was nothing.

However, the schedule would need to be adjusted. Once the festival gates were reopened, fans were excited to hear that all shows had been pushed back one hour. Matisyahu, and Black Joe Lewis and the Honeybears were to be the only casualties of the delay, until word came that Matisyahu would play the third and final after-show of the weekend later that night.

In their final testament to first-class management, the Hangout brass then announced that the festival would be open to the public, completely free of charge due to the weather. 

With a slight drizzle still falling from the sky, Michael Franti took the Hangout stage with hopes of reenergizing the waterlogged crowd, which now included thousands of locals who had previously watched from across the road with curiosity. No one could have been better for the job. During Franti’s song, “That’s the sound of the sunshine coming down,” the heavens opened and the sun reigned supreme once again over what must have been the most satisfying beach in the world.

At that moment, the Hangout achieved true success. Nothing could stop it.

Franti spent more time in the crowd than he did the stage. He borrowed the talents of two front-row fans to play Nirvana’s “Smell’s Like Teen Spirit,” and then he made a request to get any willing youngsters on stage with the band during their last song. Had Franti run for political office in Gulf Shores that day, counting the votes would’ve been unnecessary.

Just as Franti had gained the favor of the town and of Mother Nature, OK Go played a marvelous set on the Playstation Stage. Their set had a measured start with a few tracks from their 2010 release, “Of the Blue Colour of the Sky.” As the show progressed, so did the band’s intensity. Lead singer and multi-instrumentalist Damian Kulash brought guitar and mic stand into the crowd to sing picnic love-song, “Last Leaf.” He would reenter the crowd on the song “This Too Shall Pass,” this time, with his fun-forcing body-linguistics at full tilt.

As the tight-eyed crowd sang the chorus side-by-side with the boisterous frontman, the lyrics became much more than words. It was a celebration of accomplishment that everyone there for the first-ever Hangout fest understood.

“You can’t keep lettin’ it get you down, and you can’t keep draggin’ dead weight around,” says the opening lines of the song.

By the end of OK Go’s set, nothing trivial seemed to matter. The forecasted rain clouds had transformed into a beautiful beach sunset. All that was left was the finale.

Trey Anastasio is a lot of things to a lot of people, but to us he’s just a fun musician. We always have a great time at his shows, even though his music isn’t exactly our cup of tea. His latest outfit, Classic Tab, is by far our favorite. A horn section and a set of ladies armed with angelic vocal chords add to the unit. They used their headlining spot at the Hangout as an experimental playground, which pleased the crowd on several occasions. Anastasio and Tom Marshall wrote the song “Sailboat Man” specifically for the Hangout Fest, while they also debuted “Burn that Bridge” during their set. Covers of Led Zeppelin’s “Black Dog” and The Band’s “It Makes No Difference” added to the experimentation.

As the band regrouped on stage for the final encore of the weekend, fireworks lifted from the sand for the third night in a row. They continued to illuminate the sky throughout the song and several minutes after the last chord was played.

The End

We haven’t seen ‘em all. But BLANK Newspaper has covered more than a dozen festivals. From Coachella on the West Coast, to Chicago’s Lollapalooza, to Bonnaroo in our own backyard, we have a pretty good idea of the festival landscape in North America.

None have been as rewarding as The Hangout.

Dancing in the sand is an amenity that only this festival can boast, but it wasn’t just the beach that made it special. As Anastasio played his final note and the fireworks gave off their last bit of energy, the sounds of the ocean, which had lain patiently dormant all weekend, slowly regained control of the aural landscape. Smiles and amazement matched an overwhelming sense of accomplishment and purpose.

By the end of it all, the mood in Gulf Shores was different. It was the kind of weekend that stirs the soul—the kind of time that makes you want to get in shape, get up earlier and quit smoking.

It was an event that forces the idea of achieving higher means. And with its enticing beachfront aesthetics, it opened this inspirational door to the adolescent music fan just as it did for experienced music aficionados. The Hangout Beach Music and Arts festival is not just a weekend of music, it’s the most refreshing vacation a music fan will ever experience.

Information about volunteering in Gulf Shores, AL can be found atwww.joinacf.org. Information about volunteering along the Gulf Coast can be found at www.oilspillvolunteers.com.

Hangout music fest, Hangout Beach, Hangout

Rusty@blanknews.com

BIG EARS interview with featured artist Andrew W.K.

Friday 3/26 - Midnight @ The Square Room W/ Calder Quartet

"The body will always figure out a way to do what the mind wants to do"

Andrew W.K. wears a lot of hats.

He produces other artists records. He gives self-help speeches. He writes books. He works on TV shows. And oh yeah, hes a pretty darn good musician. But after a single conversation, its easy to realize that more than anything, W.K. is an easy going, fun-loving and credit-distributing entertainer. He started playing piano when he was four and a half. By thirteen, he had picked up the bass, drums and guitar.

The term genre-bending is a far overused term within critical music reviews. W.K.s catalogue is of the few that actually warrant that phrase. Blank was able to catch up with the composer/party rocker for a few questions about his performance at BIG EARS and how he has made a name for himself.

Blank: It looks like youll be playing alongside some great musicians at BIG EARS. I know youve collaborated with the Calder Quartet recently, but how did that come about?

AWK: It was a miracle. The first time that I met them we talked about playing together, but I couldnt believe that this real, legitimate string quartet would even risk associating themselves with me at all, let alone play my songs with me. It was really shocking and so moving that this group of very advanced, very esteemed musicians, who work in an area of the music business where there are rules and there are these traditions that if you dont follow them you can damage your career, wanted to play with me. Its a whole different world for classical music. Its just so scholarly and academic. We hit it off because the Calder Quartet respects that side of their field, but they also love going against those rules. They like doing things that people dont think they should do and showing people that there is excitement to be found doing different kinds of performances. That to me is so inspiring because it reminds me that music can be enjoyed in all these different ways. Why limit ourselves to saying, "Well, I only like this kind of music?" or "I only play with this type of musician?"

Its such a privilege to get to play with musicians of that level. They really bring you up. My playing as a pianist has improved just by being around good musicians. Its like playing tennis with someone who is way better than you, it rubs off on you. Mainly Im just very thankful to them and to the universe for allowing a bloody-nosed, long-haired rocker to play with them.

Blank: What sort of expectations do you have about BIG EARS, or have you done enough of these things that you know not to expect anything?

AWK: I expect to have fun. Its an amazing group of people. I doubt well have a hard time enjoying ourselves. Its just a diverse lineup. Theres all different kinds of musicians, which is what drew me to it. When I found out I would be performing with the Calder Quartet, I was wondering if it was going to be more of a classical festival. But then I see all kinds of rock bands and bands who I dont even know how to define their music. I think this is a really special festival in that way. I love the way that they have been able to put together such an undeniably interesting lineup that at the same time, you cant really figure out. There are obviously heavy metal festivals or jazz festivals, you know, but I dont know what youd call this one.

Blank: Your music has been classified in dozens of ways. How do you like your music described? What makes you feel good when you hear or read something about yourself?

AWK: I used to get really hung up when people would try to pigeonhole it as rock music. I dont know why, because obviously I love rock music...as far as the style and instrumentation I have committed to rock, but when I was younger I didnt find it helpful to figure out what genre a certain type of music is in. But, now I understand that it is okay to have genres because it acts as an index or a way to locate something. All food is food, but if Im having a craving for a Chinese food, I know I can get a good soy sauce flavor. So I dont mind having it classified, but at the end of the day, its all just music. Im very comfortable now with people calling my music RocknRoll because that style really works with me. I think its funny, when maybe some older people that havent listened to that much rock call my music heavy metal. Out of respect for heavy metal, I wouldnt call myself a heavy metal act. People have called it the musical equivalent of a drug, or life-affirming and those have always been nice for me to hear. I want people to get this amazing physical feeling of fullness.

Blank: Musicians have always used their talents as a form of self expression. But you are especially effective at making people have fun. Is that the main goal with your music?

AWK: Thats definitely at the heart and core of all of this. So yes, (encouraging people to have fun) is my main focus. Im going to try to find as many different methods as I can to help create that feeling me and for other people. First and foremost, I cant make people feel good. They have to want to do it and they have to agree to do it. They have to put the effort in, but they also have to find that within the music. The audience has the power to give meaning to that artists work. When someone feels good because of this music, its a great feeling and it makes me more excited, and then I have more energy to do even more. We support each other in that way. The style I chose to go with is one of excitement and happiness and possibility. Its amazing, because I have fun all day because of it, and thats not something I anticipated.

Blank: You helped redo The Simpsons theme song. Was that one of the cooler projects youve been involved with? How did that come about?

AWK: Yes, it was unbelievable. Even after we recorded it, I was like, "Okay, Ill believe this when I see it." It seemed so crazy that THE Simpsons were going to include me in their show. That is an extremely challenging piece, (he said as he intricately sounded out about 10 seconds of the jingle without flaw). Luckily they gave me a part I can handle. I would be amazed to hear someone play that on the piano. There is so much going on...Very intense piece.

Blank: Some of your music is classically influenced, and then some of your music is extremely raucous and wild. It seems like that appeals to two different crowds of people. It takes a lot of confidence and freedom to be able to pull that off without losing anyone. How do you keep your audiences from drawing a line in the sand?

AWK: Hmm...Well you just hope that people are open to a mixture of different things. I guess there are some who like the variety I create. But also, if you have too much variety, you dont satisfy those people who like a certain thing. Its a balance. I just try to think about what I appreciate out of performers. What do I like about shows, what I do not like...I like seeing entertainers doing stuff that theyre not supposed to do. I want them to put it on the line when Im an audience member and thats kinda what I enjoy most when Im on stage.

Blank: Do you feel like youve turned people on to classical piano who might not have appreciated it if youre sound wasnt so energetic and fun?

AWK: That would be amazing. The Calder String Quartet and I just did a whole tour together, and we definitely ran into people who had never seen hard rock music played live. More often though, there were people who had seen me play but hadnt seen a classical show. Not only did they get to see traditional classical music, but they got to see the 20^th century classical compositions that are pretty far out. They are a lot more like rock music in that they push the boundaries. When you listen to classical, you realize that its just like any other kind of music. Its chord changes, melody and rhythm just like all music. You could play it on any instrument and it would still have that same kind of power.

Blank: When you broke your foot on stage a few years ago, was there ever a thought of cancelling the rest of the tour? Playing from a wheelchair is one of the most humble things a musician has done in some time. The fans would have certainly understood, but you went on anyways.

AWK: We were playing a show in Hollywood, California and I got tangled up. There was definitely a thought to cancel the tour because that was the first night of a two month tour. And we had been touring almost non stop for three years at that point anyway. When it happened we went to the hospital and they said it was going to take six months to recover and I couldnt believe it. I had never broken a bone before, and to have it be my foot which has so much to do with mobility was devastating. The next day we were going to Japan for two weeks, so after sitting there in the emergency room for a few minutes, it became clear that my voice wasnt connected to my foot and I could still play piano. At first I was just walking around on crutches, but I realized that if I could sit down then I could still head-bang and that was when I realized I needed a wheelchair. This was the first time I had ever been disabled in any way, so it was also a real eye opener for people who live their lives in wheelchairs. We ended up doing the whole tour and everything was fine. People were very supportive. I had so much energy, I almost thought I should start performing from a wheelchair all the time.

Blank: Thats great.

AWK: The most interesting part of the whole experience was when we got an offer to play live at the Spike Video Game Awards in Las Vegas. When we showed up for soundcheck they were horrified when they saw that I was walking around on crutches. There were some producers that said that I couldnt go on like that and I was so outraged. There was this belief that people in wheelchairs werent supposed to be on stage. And then it hit me. Why arent there more people with disabilities in the arts? Is there really that big of a stigma about it? I had never thought about that, and it became a big deal. Everyone was so angry with me, and I was the one in the wheelchair. The concern was all about the way it looked. But in the end, they let us do it, and the most satisfying part was after the show when all the producers came up and said, "Were so sorry, I dont know what we were thinking, that was an incredible performance." They realized that it was an amazing moment for anybody who has ever been in a wheelchair. That was one of my greatest moments. When we opened our club, Santos Party House, in New York City we went out of our way to make sure that it was wheelchair accessible as much as we possibly could and we quickly realized how challenging that is. Everybody should be able to participate if they have what it takes to participate. If you can sing, then it shouldnt matter if you cant stand. Noone would mind and it would probably be more powerful for someone to be willing to challenge that type of adversity.

Blank: Youve produced, written books, working in TV and exhibited several other forms of artistic expression. Which do you enjoy doing most or is it kind of the whole grouping of them all that makes you happy?

AWK: To me its not that much of a variety. People ask me if I ever get overwhelmed. They say, "One day youre doing TV, the next day youre producing a reggae artist, the next day youre recording your own album, the next day youre doing self-help lectures, then a Japanese book..." If you look at all these things, they are all entertainment. That has made it very manageable. The only times I ever felt stressed out was when I was doing something I didnt want to do. Im just doing the stuff that I like to do.

Blank: What is Santos Party House and how has opening your own venue changed your opinion of the business world?

AWK: This is really the biggest project Ive ever been involved in. New York City is the most challenging place to open a business because there is so much already here. The city makes it difficult intentionally to develop this work ethic that will help ensure that the business will last. For three years, I stopped touring full time just so I could focus on this. After playing in venues all around the world, this was such a dream come true to open our own place where bands could play and this was a way for me to give back to New York, which has given so much to me. We started this place from scratch, we didnt just take over another club in the space. We got a virgin space and turned it into a club and that hasnt happened downtown in New York in 30 years. We got about 7,000 signatures on a petition from people in the neighborhood saying that they wanted it to be there. There is a core group of six people and those people are my best friends. Weve been through so much together. Now all these other things that I work on seem like nothing.

Blank: Who do you enjoy listening to these days?

AWK: I enjoy all types of music. Over the last ten years, Ive been most excited about heavy metal music and rap. They are just endlessly fascinating. I cant believe that I get to be alive when there is so much amazing music being made. The spirit of a lot of the rap music hits me in this place...its the way I wanna feel when I listen to music. I dont wanna be comforted or soothed by music. 99% of the time I want to have my mind blown by music. There are certain kinds of rap music that are designed to do that certain thing. I want that feeling that makes you want to go out of the house and do something.

Blank: Have any favorites in the rap game?

AWK: An artist like Soulja Boy, I hear a song and it makes me happy to be alive. Its like hes been put on this earth to tap into that. It is so rhythmic, so musical, and he gets flack because some people say that his lyrics arent telling a story, but theres all different kinds of reasons to listen to music. Some people listen to music like theyre reading a book, and some people dont care about the words, but it feels good to hear his music. I think he has tapped into the heart of joy that some people dont have access to. If it feels good, then thats it.

Blank: Youve done work all over the world. Do you have a favorite place on the globe?

AWK: Its really hard to pick favorites when you like so many different things. Its just for novelty to put numbers on things, but thats also fun. Its cool to list the top 500 albums of all time or the top 50 music videos, but at the end of the day its completely absurd to order things unless its just for fun. How could I pick Tokyo over Mexico City? The qualities that set them apart are what makes them so special. So I generally dont make lists. But that is what makes the fact that I have a favorite city a big deal. Its New York. It took me many years to feel like I could say that. To me, New York City IS the world. Almost all cultures are represented here. I feel like Im on planet Earth all at once when Im here. I can totally understand why some people dont enjoy it here, but if youre going to live in a city, this is the city. People that you wouldnt expect to like New York love it. Its such an achievement that it exists. I moved here and all my dreams came true, so how could I not feel this way about this city.

Blank: What can fans and new listeners look forward to on your new release(s)?

AWK: Theyre both kinda lost albums. The first one is called "Close Calls with Brick Walls." It was my third album, but it wasnt released anywhere but Asia in 2006. For this release were taking all of the bonus tracks on one definitive version of the album. But there were too many tracks to put on one disk, so we broke it up into two discs. The second disc is called "Mother of Mankind." Thats all rare and unreleased in the states. The most exciting and the most scary part is putting all these songs that I never let anybody hear on the album. My closest friends would come over and I would play it for them, but I never thought they would be released. In the spirit of trying to contradict myself, I want to put myself in that vulnerable state. Its a good way to tide over some of my fans while I record my brand new album. There are some songs with full-on guitar solos, songs without any guitar at all, songs with very layered orchestrations. I just want to see what people think. Im really curious.

Blank: Whats next and how can people keep up with you?

AWK: Over the last five years, Ive been really glad to stretch out and expand who I was. Were playing our first full band show in almost six years coming up in New York. That will start a huge wave of shows, which includes South by Southwest and the Warped Tour. I imagine well do another full tour with the new album in the fall or winter.

By Rusty Odom

Follow him on twitter at www.twitter.com/Andrewwk