Craig Hlavaty over at The Village Voice wrote an amusing post—albeit a wee mean-spirited, but funny nonetheless—about the most overused terms in SXSW band bios.
Here are a few of the offenders according to Hlavaty:
“Raucousness”
Just say you like cocaine. It’s 2013, it’s okay. You can just say it is an act.
“Art School”
Fuck you.
“Swathed”
Ohhhhhh, someone is a reader!!!
“Psych-WHATEVER”
Urgh, a psych war! I remember there was a local writer out here who called anything with reverb “psych” and it bothered me. Even the Wild Moccasins were “psych.” It was annoying.
See also: Psychedelica, Psych-ridden, Psych-folk, Psych-damaged, et al.
“Cathartic”
Telling your dad that you hated him for the first 20 years of your life for cheating on your mother is cathartic. Your band is not cathartic. Your band is NPR background noise.
“Swirling Synths”
Can synths do anything else but swirl?
Every year I say I’m not goin’, but once again I will be at SXSW. I live in Austin, so it’s hard to avoid. I plan to spend more time this year checking out new bands and avoiding the crush of people trying to get in to see major label warhorses like Green Day, Stevie Nicks, Yeah Yeah Yeahs, Nick Cave and Iggy and The Stooges. If established acts are what you’re interested in, there’s plenty of free shows (no badges or wristbands required), including Flaming Lips, The Coup, The Zombies (with Argent and Blunstone) and Tegan & Sara.
As SXSW continues to grow far beyond its humble origins, there’s hundreds of alternative events that are keeping the original vibe alive. If you’re coming, be sure to check out sites like the Unofficial SXSW Guide and SXSW Side Parties Database.
With Prince, Bruno Mars, Justin Timberlake and Lil Wayne added to the 2013 schedule, SXSW continues its long death march to Grammy Awards irrelevancy. Help me keep it real. If you’ve got a band, a film or some cool product you’d like to talk to me about, contact me at marcdangermind@gmail.com.
Some scenes from inside last week’s Dangerous Minds-hosted SXSW party in Los Angeles held at the Hollywood Forever Cemetery’s Masonic Lodge. On the big screen were live performances simulcast from the Sub Pop Records SXSW Showcase in Austin featuring Spoek Mathambo, THEESatiscation and Niki + The Dove. The event was produced by Natalie Montgomery and curated by Tara McGinley (ME!), and executive produced by Largetail.
Seen in the crowd were Radiohead, Elizabeth Olsen, members of OK Go, artist Tim Biskup, Amber Tamblyn, Jeff Garland, Aziz Ansari and more. The event was catered by Cool Haus, Grill ‘Em All and Mandoline Grill.
Like us on Facebook or Twitter to hear about the next party.
Inside Masonic Lodge as event is beginning
America’s Funnyman, Neil Hamburger was the event’s MC. His act went over the heads of most attendees—say 80%—but for those more familiar with his unique comedic stylings, the obvious audience discomfort made his shtick even more hilarious that night.
It’s always tempting to call a younger, up and coming artist with an astonishing talent the “new” someone or another. Usually when it’s a female performer with an acoustic guitar, the facile comparison—indeed the _default_ comparison—is Joni Mitchell, but that’s not what I’m feeling with Madi Diaz, a 25-year-old Nashville-based singer-songwriter who is considered one of that musical mecca’s best kept secrets.
Within a sort of thoroughly modern “Americana” context, Diaz and creative partner Kyle Ryan write songs which spring from a pure pop idiom. Hear them once, you’ll never forget them. Diaz’s lyrics are not about abstract subjects, they’re very specific feminine observations of life and relationships. She’s singing about herself—or at least she often writes in the first person—and it can be very powerful, plaintive and heartbreaking. If you married Carly Simon’s knack for the catchy, confessional, pop hit with the DNA of the legendary Anthology of American Folk Music box set, the result of that union would be Madi DIaz’s music.
Madi Diaz, it’s also worth noting, was a student at the School of Rock (both her father and brother are part of the school’s faculty) and first achieved notice as one of the lead teenage protagonists of Don Argott’s 2005 documentary Rock School. As Madi admits, “It’s embarrassing enough to have pictures of you when you’re 15 or 16 years
old; I have an entire doc.”
My Dangerous Minds colleague, Niall O’Conghaile conducted this rather fab interview with the one and only Christeene, the legendary “drag terrorist” and “sexually infused sewer of live rap and vile shamelessness”, who is more than “capable of adapting amazingly well to all styles of music”. Very little is known about Christeene, who has famously seduced and outraged in equal measure an unforgettable career across the U.S.A., leaving broken hearts, devoted followers, and used bodies behind her. Now in an exclusive interview with Dangerous Minds, Christeene tells us all we need to know.
Who is Christeene and where does she come from / how did you meet her?
I met CHRISTEENE in the dirty backyard of a shit shack coffee shop here in Austin called Bouldin Creek during a queer gathering called camp camp. CHRISTEENE was wearing, only, a very messy black rabbit fur coat and a pair of pink junked out high heeled boots. It was love at first sight.
What would you say are the main differences between Paul and Christeene?
I’ll say that the differences are fewer and fewer these days, but the raunch and stank sexuality of CHRISTEENE is something that shifts when it comes back to me. There is a more gentle southern fella on the inside that carries a knife I’d say.
Does Christeene get on with Rebecca Havemeyer?
Only via snail mail, internet, and very brief encounters. They don’t do tea together or anything, but I’m sure it would be a helluva conversation if they did.
Christeene provokes some very strong reactions, good and bad, in both the LGBT press and the mainstream. How do you feel about those reactions? Is there anyone who gets it very well and anyone who gets it completely wrong?
I think that the reactions that come from this work are so very important and need to be heard. All of them. When it all first started with PJ Raval and myself releasing the video for ‘Fix My Dick’, there were a ton of negative comments…especially from this one person who I think of as a kind of internet comment bully….this lone typist who throws verbal missiles from the safety of their stank couch, ya know? This person was so very upset on so many levels…I was called racist, homophobic, transphobic, classist, and the next Shirley Q Liquor. Wowee! This is rough..I’m thinking. I’ve never experienced this kind of an attack before and it’s personal. It’s angry. It’s throwing labels at me. But at the same time it’s fuckin gorgeous and necessary. The stew has been stirred and hot sauce has been thrown in. Good. Very good.
The work being done here is an uncontrollable expression of something very heavy inside of me…it’s not created to merely shock, to splash dick and ass in your face for a laugh. It’s made to make you fuckin think about the state of things…the state of our interwoven communities in the LGBTQIA world and beyond.
CHRISTEENE is an electrically charged dangerous product of our times with a heart of gold, and is used as a very striking yet approachable communicator to the masses. Many fuckin amazing people understand this and attach themselves to the explosion that is taking place onstage with all they’ve got. Those people are wonderful. They offer solid criticism and conversation on what’s being delivered. But the attackers are just as important, and the conversations that come from them, if they have the brains to discuss their anger, are even more wonderful and exciting. Overall, though, the best is the smiling faces from people having the time of their lives with this shit…as we are.
Who are Christeene’s main inspirations? In terms of drag/performance and also musically?
CHRISTEENE is really nspired by the lineage of Drag in performance. The superstars of our day that keep the Drag street in good repair. I have to say that if there is one lady out there that blows my mind, it’s Lady Bunny. Complete adaptation to the times and an impressive hold on the social network. I admire that a lot. But what mostly inspires this work to come out of me is when I think of how I can contribute to all of the amazing forms of Artistic Drag that are out there now and have come before me. It is a beautiful and very historic art form, and I want to explore it and take it to a new level.
It feels like Christeene is an all-round multimedia experience, not just a singer, but a performer/video artist. How do you think she integrates into the performance, video and high art worlds?
I’ll have to say that because of the brilliance of PJ Raval, the work of CHRISTEENE has had the privilege of being put into video and showcased around the world. PJ and I started working together about 3 years ago and our relationship takes the same direction of exploring this new and dangerous creature that is CHRISTEENE with excitement and no restraint. Our videos have been granted access to film fests and art galleries around the world, causing so many people to experience our work who wouldn’t necessarily find themselves in the same room with such stank shit. And in terms of the live shows…they are raw, angry, intimate and real…real as you can get. It’s new, and it burns.
So what exactly is “African Mayonnaise”?
All I can say about African Mayonnaise is that it is a very strange state of mind/experience that we found ourselves in when we were performing at Folsom Street Fair in San Fran back in 2009 I think it was? A very gooood state of mind/experience.
And what exactly is this “new celebrity” and “new America” that Christeene epitomises?
CHRISTEENE isn’t necessarily epitomizing celebrity or America…CHRISTEENE is serving the new breed and brand of it. If this is what these people have become (the current state of things)...if this current state of things is what people have allowed into their living rooms and their states of mind, then this is what these people are going to fuckin get now. Eat it up and hold it in, fuckers.
The video for “African Mayonnaise” is, em, interesting - are there any out takes that didn’t make it in? And who was scarier, the Church of Scientology people who forcibly ejected you form their offices, or the Christians who harassed you on the street at the end?
PJ Raval had sooooo much footage in the end, and our god sent editor, Victoria Chalk was amazingly able to put it all together. She’s the absolute SHIT. There is so much fuckin material that didn’t make it into the video we could make a film out of it. Outtakes? Oh yeah. And by far, the Church of Scientology what the most dangerous place I’ve ever set foot in.
How is Austin at this time of year?
Weather is wonderful, and people are smiling because the devil summer hasn’t hit yet.
Tell us a bit about the Christeene shows coming up at SXSW…
We just performed a show called ‘Get off the Internet” which was created by Alyx Vesey, an amazing writer who gets our shit in all the best ways, and by Homoground and it was fuckin gorgeous. So many amazing bands and people up in the yard of a bar called Cheer Up Charlies here in Austin. And our Showcase was a stank hit as well.
The last thing we’ll kick in the puss is gaybigaygay..and if you are in Austin on Sunday the 18th, you’d be a damned fool to miss this event.
What does the near future hold for Christeene?
A ton of travel with my Boyz, T Gravel, C Baby, JJ Booya and PJ Raval I hope.
And now just a question from me - any plans to come to the UK??
The minute we find a plane that can hold our stank azzesssssssss…we therrrrr. Hold your breath, Hawt Man.
Bruce Springsteen and Eric Burdon performing “We Gotta Get Out Of This Place” in Austin. 3/15.
Bruce Springsteen’s keynote address at SXSW 2012.
Springsteen spoke passionately about the music that had had a profound impact on his own writing. The Boss rhapsodized about Elvis, James Brown, the Animals, and the Beatles, and the anecdotes he told about his encounters with each were revealing, mesmerizing, and sometimes hilarious. But it was the story of his awakening to Woody Guthrie’s work that tells the most about how Springsteen’s writing has changed over the last twenty years, and where he’s likely to going next.
Whether you’re a fan or not, this speech by Springsteen is full of heart and truth. And having just come home from his phenomenal performance at SXSW, I am fully prepared to take on all comers. This cat still rocks and rocks hard!
When Springsteen introduced special guest Eric Burdon at the show he did so by commenting on The Animals hit We Gotta Get Out Of This Place, “That’s every song I’ve ever written. I’m not kidding, that’s all of ‘em.” Burdon proceeded to prove him right. A lovely rock and roll moment.
As pretty much anyone within the reach of the Internet can tell you, this is the week of the big SXSW music, film and interactive festival/convention here in Austin, TX.
The big names are starting to arrive in town. Jay-Z’s in Austin, there are rumors of a super secret Bruce Springsteen show and the whole city is abuzz with movie stars, rock and rollers, rappers, folkies and even a fair selection of computer geeks. [Lots of ironic facial here in Austin, too, but that’s for another discussion.]
Suffice to say, if a nuclear bomb got dropped on Austin this week, the music industry as we currently know it would pretty much cease to exist.
But if you can’t make it to Austin yourself (or if I just scared you away with my irresponsible nuclear bomb talk) and if you are lucky enough to live in Los Angeles (I love saying that), fear not because the fine people at MasterCard PayPass® and Google Wallet have teamed up with Cool Hunting and Dangerous Minds to bring a little of what’s cooking in Austin to you, the Dangeorus Minds reader. And they’re going to feed you and treat you to an open bar.
The Los Angeles event will be MC’d by “America’s Funnyman” Neil Hamburger and DJs that evening will include Chris Holmes, Elijah Wood, Brie Larson and TURQUOISE WISDOM.
Food will be served by Grill Em All and Mandoline Grill with sweet deserts from Coolhaus.
For over a decade, Joss Whedon and Drew Goddard have pumped new life into the sci-fi and horror genres by upending traditional approaches to well-worn tropes and re-imagining them in a post-modern, psychedelically surreal style. As the creators, individually and together, of Lost, Buffy The Vampire Slayer, Alias, Firefly and Angel, Whedon and Goddard have conjured up alternate realities of suburban vampires, gigantic lumbering monsters, time-traveling lost souls, sci-fi psychonauts and Modesty Blaisenesque secret agents that have turned the gaze of a generation up from their shoes to the pulsing ray of the TV screen. Rod Serling would be proud of this prolific pair.
With The Cabin in the Woods— which had its world premiere before a packed house a few nights ago at the Paramount Theatre in Austin, TX— director Goddard and his co-writer Whedon start with an homage to Sam Raimi’s Evil Dead trilogy and end up mashing up several decades worth of horror movies into 105 minutes of mind bending insanity that no plot summary can do justice to without spoiling the fun. The ingenuity of the movie is in its inspired combination of the familiar and the utterly strange. Just when you think you know where things are headed, the movie takes a turn for the wildly unexpected. The monsters may be old school, true, but The Cabin In the Woods moves with the speed and agility of a young and very hungry Velociraptor.
See the movie premiere photos and read more about The Cabin in the Woods at Tap into Austin 2012.
Greetings from sunny Austin, TX. Well at least it’s supposed to be sunny today and tomorrow, but never mind that persistant pouring rain, Dangerous Minds will be covering the SXSW music festival all this week. I got in last Thursday and Marc Campbell and I have been roaming around Austin trying to take it all in and report back about a little of what’s going on here. It’s a loud, colorful food truck-strewn chaos of a city right now, that’s for sure. Every single square inch of Austin seems to have some sort of corporate branding.
I’ve eaten some great food, seen some amazing films and soon enough the music part of the festival wil start. In the coming days, we’ll be bringing you movie premieres (Small Apartments with Matt Lucas and Johnny Knoxville, the epic new Bob Marley documentary, the charming Grandma Low-Fi, the Bad Brains doc and many more), interviews with Indian Rope, Cloud Nothings, Daytrotter’s Sean Moeller and some “unplugged sessions” that have been scheduled with Jonathan Wilson,Father John Misty, Jenny O, Bee vs. Moth, Madi Diaz, Chelsea Wolfe, Poor Moon and the premiere of a new music video from Bay Area druid spacerockers Lumerians.
Click here to see Mirgun Akyavas’ photo gallery of Austin street art.
Orchestral Maneuvers In The Dark played SXSW on March 19 with all four original members on stage and they sounded and looked extraordinarily good. Despite a serious accident involving a camera boom collapsing into the audience, OMD managed to take a bad situation and make it better (vibewise). While the folks injured by the falling boom were being rushed to the hospital, OMD played a brief engaged set in their honor.
OMD is one of a handful of bands that emerged at the beginning of the 80s playing melodic synthesizer-driven pop tunes that had some substance to them. Along with Spandau Ballet, ABC and Human League, OMD’s shimmering surfaces and electronic beats included transmissions of humor, social commentary, politics and satire without the dour heavyhandedness of PIL or the soft focus Vaseline smeared slickness of Duran Duran. OMD’s electronic pulsation is hardwired to something warm and organic. It has heart. Thirty years after the release of their debut album, they still scintillate.
On a night in which the band and audience had been through a somewhat harrowing experience and were looking for some catharsis, OMD had about 20 minutes to turn the vibe around. Within the first couple of minutes of hitting the stage they pulled it off.
Andy McCluskey – vocals, bass guitar, keyboards
Paul Humphreys – vocals, keyboards
Martin Cooper – keyboards, saxophone
Malcolm Holmes – drums, percussion
Shot in hi def and with good audio, this video is pretty damn sweet.
I couldn’t get in so left just minutes before the shit hit the fan outside the Beauty Bar during the Death From Above 1979 SXSW showcase.
According to the Houston Press the scene was…
[...] a mini-riot complete with a shoddy, downed fence, beer cans flying through the air, Austin police officers on horses, tasers going off, mace being expelled, and cops using extreme force to quell the crowd who couldn’t get inside the tiny patio venue.”
This was just one of several bad vibe situations at SXSW this year. With gatecrashers bumrushing the packed Strokes show, Ben Weasel’s freakout, Odd Future’s punkass tantrums, the camera jib disaster at the OMD show, Cee-lo Green and Lupe Fiasco’s no-shows (two of several acts that canceled at the last minute) and hundreds of invited guests being turned away at the Kanye West ego-stroke, this year’s SXSW was the Altamont of music industry circle jerks.
I live in Austin and attending SXSW doesn’t involve costly travel or expensive hotel rooms. It’s relatively cheap way for me to see emerging bands and old warhorses. So I go. But this year was a fiasco for me and 1000s of attendees. I was turned away, like so many others, from most shows because of the overselling of wristbands and badges and hype-driven showcases of bands no one will even remember a year from now.
As someone who has organized concerts and run music venues, I understand the complexities involved and that there are things beyond any organizers control. But SXSW has allowed itself to become an unruly monster that has little to do with the exposure of new bands to the press, music industry and public.
SXSW has become less about music and more about creating an illusion of relevance and importance. I’m not sure what the bands or the dying music industry think SXSW is going to do for their careers. There was a sense of desperation at SXSW this year that comes from the deep down knowledge that everyone attending was being scammed on some level. From the delusional music business lackees looking for one last gasp of the rarefied air of rock and roll privilege to the bands playing in parking lots and alleyways for a dozen people while established stars like Kanye are packing them in at a converted power plant (power is right), SXSW has turned into the very thing it was originally designed to be an alternative to: a music industry dinosaur. It needs to either be radically re-designed or put out of its misery because, like a rotting hunk of prehistoric meat, it’s starting to stink up the place. The folks behind SXSW need to do some serious soul-searching and do it now.
Orchestral Maneuvers In The Dark’s Andy McCluskey is quoted in the music press as describing the SXSW venue he played in as being a “shithole.” And this was even before a camera jib collapsed into the audience at OMD’s show the following night resulting in several injuries. Why are rock fans and bands willing to be treated like shit by concert promoters? From having to piss in rank smelling porta-potties to standing for hours in long lines and being herded into clubs like cattle, rock audiences seem to be gluttons for punishment. Since when did it become a badge of honor for a rock fan to be abused after spending a few days wages on a rock concert? Does this go back to some primal collective cultural memory of dancing in mud and shit at Woodstock or pool sticks pounding flesh at Altamont?
I went to SXSW 2011 with cautious optimism, being somewhat cynical after my lousy experience last year. I was hoping for a better organized and more equitable fest and it did have its positive moments and certainly should be credited for the shows that did result in upbeat energy for the audiences and bands. Among the ones I saw, TV On The Radio, Psychic TV, Hong Kong Blood Opera, OMD, Charles Bradley, Mark Eitzel, Noah And The Whale, Foster The People, The Black Angels, The Vaccines, Jesse Malin and Scala & Kolacny Brothers were good to great. But these bands are touring, signed or been around for awhile and can be seen in far less chaotic settings than SXSW.
And to the people who spent $750 on badges, was it worth it? With average ticket prices for concerts in Austin generally running $25 or less throughout the year for many of the bands that appeared at SXSW 2011, that $750 could have bought tickets for 30 or more live shows. And for out-towners who spent their cash on travel, hotels and badges, you could have stayed home and with the money you saved hired a few of the struggling indie bands to come play at your house. Your own mini SXSW in your own crib. And I bet your living room has better lighting and sound than the alcove of a coffeeshop where I saw one band heroically try to put on a show as they watched their SXSW dream slip away.
Of all the shit that goes on at SXSW, it is seeing the little guys, the unknown groups, the frontline of rock and roll, get fucked by the heartless greed machine that this perversion of a festival has become. SXSW is an aging vampire sucking the vital fluids of young rockers while the music industry zombies are working up their pathetic hard-ons and tossing off like guilty priests in their the corporate goodie bags. That smell in the air ain’t teen spirit, it’s the foul scent of aging scrotal sacs contracting for one last spurt before they deflate into useless flaps of flesh. I’m having visions of Pasolini’s Salo dancing in my head.
What are Foo Fighters, Duran Duran, Kanye West, Queens Of The Stone Age and corporate flame-outs like Panic At The Disco and The Bravery doing at a festival that is ostensibly about new music? Or is it about new music anymore? Do established bands come to SXSW to restore flagging careers or re-ignite indie cred? I have nothing against big acts attending SXSW other than they draw crowds away from some young band that has traveled to Austin at great expense to play in an empty dive bar. These are the bands that should be getting the attention because they need it. Fuck Kanye.
Part of the problem lies not with SXSW but with all of the corporate sponsored parties and temporary venues that occur simultaneously with SXSW, feeding off of its energy. These events bring in more bands and more people resulting in more traffic and more chaos. The thing is SXSW benefits from being associated (unofficially) with big gun brands and bands. It’s a mutually beneficial relationship but adds 1000s of additional people to the already maxed-out 19,000 official attendees. It is more than the streets and hotels can handle. Car and human gridlock make the festival a frustrating and occasionally dangerous spectacle.
My suggestion is to kill the music festival and keep the SXSW film festival. For $70 a film fan can get into virtually any film screening at the fest and the venues are mostly state-of-the art. For music, Austin City Limits and Fun Fun Fest are doing a far better job of bringing music to the people.
Here’s what I missed at the Death From Above 1979 gig:
Psychic TV’s performance at SXSW was one of the highlights of the festival thus far. Genesis P-Orridge fronted a growling beast of a band that mesmerized a capacity crowd.
Genesis was in town not only to perform but also to attend the Austin premier of a film about her/his life and love affair with partner Lady Jaye. The Ballad Of Genesis and Lady Jaye, directed by Marie Losier, is a moving document of two people attempting to spiritually and physically merge as one. Part performance art and part metaphysical quest, Genesis and Lady Jaye alter their appearance over the course of several years in order to not only look like each other, but to become an entity beyond duality, a form of alchemy utilizing flesh and soul, creating their pandrogyne.
Losier’s direction of the film evokes the experimental movies of the 60s. Shooting with an old Bolex, Losier creates a mystical and dreamlike vision that seems to flutter at the borders of consciousness, a grainy living thing. Some of the footage recalls the look of Warhol’s Factory films and the work of Jonas Mekas. At the heart of the movie is the romance of two deeply committed lovers, but Losier also explores the many layers of Genesis’s art, from Pyschic TV to Throbbing Gristle to books written and archival documents from P-Orridge’s past. It’s a fascinating life lived on the edge of always becoming.
SXSW communique: It’s 4:32 a.m. in Austin and I’m decompressing from TV On The Radio’s stellar performance at Stubb’s. My ears are ringing and my flesh is vibrating like a tuning fork struck by the hand of Apollo.
Performing before a capacity crowd, the pioneers of the Brooklyn new music scene brought some genuine magic to SXSW - a mystic vibe under a nearly full moon in a perfectly clear night sky.
TVOTR opened their set with “Young Liars,” from their 2003 debut EP.
The band pushed the limits of Stubb’s sound system and my camera’s mic. The sound is grungy, but the energy is pure and true. Watch it in HD. Direct from Dangerous Minds to you:
Morgan Spurlock’s new documentary The Greatest Movie Ever Sold is a riotously funny, dead serious look at product placement, advertising and marketing in entertainment and the world around us and how it literally fucks with our heads. The entire movie was funded by the companies whose products are blatantly featured throughout the film. The movie exists thanks to the cash that Spurlock managed to extract from the very system he is critiquing. Exploiting components of the $412 billion marketing industry, Spurlock has created the cinematic equivalent of a virus devouring its host. It’s an ingenious bit of guerrilla theater that makes its frightening points while being highly entertaining.
Spurlock describes the concept behind The Greatest Movie Ever Sold:
Brands are everywhere these days. It seems like I can‘t go to any event these days without someone ―sponsoring it. Sporting events, concerts, anything. So, why not a movie? Better yet, why not a movie that examines the whole phenomenon that is actually paid for by the companies themselves. That was the jumping off point.
The movie documents both the absurdity and pervasiveness of product placement in our daily lives and I saw my role on this film as both a filmmaker and an anthropologist.”
The Greatest Movie Ever Sold was funded by Hyatt, POM Wonderful, Sheetz, Jet Blue, Mini Cooper, Ban deodorant and half a dozen other brands. The product placement and commercials that occupy virtually every frame of the movie have made the $1.5 million documentary profitable before it even opens in theaters on April 22.
Here’s the Q&A with Morgan after the screening of The Greatest Movie Ever Sold at SXSW on March 13. This footage was shot on a Sony HD camcorder by Dangerous Minds’ Marc Campbell who was wearing Levi jeans and Converse sneakers while sucking on an Altoid mint.
Dangerous Minds will be at SXSW from March 10 thru March 20 and beyond. If you want to make contact with us, email Marc Campbell: marcdangermind@gmail.com. We’ll be covering both the film and music fest with our gypsy film crew and intergalactic reporters.
