“The song is simple if you want it, take it. Freedom, quality of life, and the right to express yourself,” says Black Rock Revival’s Sebastian Banks. “What could better express the push and pull of life than a wrestler?”
This clip for the band’s new single, “If You Want It”, produced by Banks and helmed by Atlanta-based director Nina Stakz, combines some hardcore wrestling action with moodily lit performance footage.
“We shoot this in a one-day, 10-hour shoot,” Banks says. “The planning was key, with storyboards, fight choreography, and locations. We also where going for things we don’t usually see, an all-Black cast for a hard rock video. The action had to match the speed and intensity of the guitars and commanding vocal. Hopefully we made something MTV worthy and Memphis strong.”
Music Video Monday: Black Rock Revivial
If you have a music video you would like to see featured on Music Video Monday, email a link to cmccoy@memphisflyer.com.
The Summer Drive-In was built by Malco Theaters in 1950, on the cusp of the country’s big drive-in theater boom. At the height of their popularity, there were more than 4,000 drive-ins all over the country, comprising more than one quarter of all movies screens. Now, that figure is at 1.5 percent.
But the lost pleasures of the drive-in are not lost on Memphis filmmaker Mike McCarthy and Black Lodge Video proprietor Matt Martin, who, last year, started the monthly Time Warp Drive-In series, which brings classic films, both well-known and obscure, back to the biggest screens.
“We were accepted by a large part of the Memphis community,” says McCarthy. “[Malco Theatres Executive VP] Jimmy Tashie took a chance at, not only saving the drive-in, but plugging a program in that would use the drive-in for what its American function used to be.”
The eight-month series will once again run four-movie programs, once a month, each united by a theme, ranging from the deliciously schlocky to the seriously artsy. Last year’s most popular program was the Stanley Kubrick marathon, which ended as the sun came up. “Who says the drive-in is anti-intellectual?” McCarthy says.
The appeal of the drive-in is both backward- and forward-looking. The atmosphere at the Time Warp Drive-In events is relaxed and social. People are free to sit in their cars and watch the movieor roam around and say hi to their friends. It’s the classic film version of tailgating. “Matt from Black Lodge brought this up: It’s a kind of social experiment, like America is in general. It’s getting back to turntables and vinyl. Maybe it’s not celluloid, but it’s celluloid-like. You didn’t get to see that, because you weren’t born. But you can go back to that. It takes a handful of people who believe to make it happen. And that’s why Malco has been around for 100 years. They’ll take that chance.”
Malco’s Film VP Jeff Kaufman worked hard to find and book the sometimes-obscure films that Martin and McCarthy want to program. “I think we’ve got the material, and we’re trying to get things that people want to see, while kind of playing it a little dangerous around the edges,” McCarthy says. “This Saturday’s totally kid-friendly. We make a conscious attempt to show the kid-friendly stuff first, so people can come out with their kids.”
The series takes its name from the most famous song from The Rocky Horror Picture Show, so the opening program is, appropriately, movies that were mentioned in the show’s opening number, “Science Fiction Double Feature,” that also appeared on Memphis’ legendary horror host Sivad’s long-running Fantastic Features program. “We’re showing what many people believe to be the greatest film of all time, the 1933 version of King Kong,” McCarthy says. “It’s not the worst film of all time, which is the 1976 version of King Kong.
The granddaddy of the horror/sci-fi special effects spectacle films, King Kong has lost none of its power. It’s concise, imaginative, and best experienced with a crowd. The evening’s second film comes from 20 years later. It Came from Outer Space is based on a story by sci-fi legend Ray Bradbury and was prime drive-in fare. It features shape-shifting aliens years before Invasion of the Body Snatchers, 3D imagery from the original golden age of 3D, and a twisted take on the alien invasion formula.
It Came From Outer Space
The third film, When Worlds Collide, was made in 1951, but it doesn’t fit the mold of the sci-fi monster movie. Produced by George Pal, whose credits include the original film takes on War of the Worlds and The Time Machine, the film asks what would happen if scientists discover that Earth was doomed to destruction by a rogue planet, presaging Lars Von Trier’s 2011 Melancholia.
The evening closes with The Invisible Man, starring Claude Rains as the title scientist who throws off social constraints after rendering himself transparent. Directed by Frankenstein auteur James Whale, the film has been recognized as an all-time classic by the Library of Congress’ National Film Registry and will richly reward intrepid viewers who stay at the drive-in all night long.
The city of Memphis has a large (and growing) red-light camera program. Every year, we faced a budget crisis. And every year there was a temptation to expand our traffic camera program.
In our past council meeting of the fiscal year, we decided to amend our speeding camera program from 15 cameras to 150. It was a heated discussion of city finances and future deficits, not so much about public safety.
In the last five years, Memphis’ traffic cameras have raised $10.8 million. However, most of that money goes to American Traffic Solutions, ATS, the Arizona company that installs the cameras and administers the program. Of the $10.8 million, ATS received $6.2 million. That means that more than 57 percent of the money from Tennessee residents goes to a private out-of-state firm.
They are really in charge of these programs. They are, in effect, policing our streets.
Of course, since so much money from our cameras goes to an out-of-state vendor, their representatives were at virtually all our council meetings, regardless of whether there was discussion of anything related to cameras.
Through bipartisan legislation for which I am a co-sponsor (SB 1128; HB 1372), the Tennessee General Assembly will get a chance in the current term to curtail the use of these cameras.
I believe the cameras fly in the face of the American tradition of “innocent until proven guilty.” The red-light camera issues a citation and there is very little people can do to defend themselves against an improperly issued citation.
In Memphis, you would have to travel to our criminal complex to fight the ticket, wait for several hours in line, and try to recall the circumstances surrounding a picture that was taken of your car several weeks earlier, when you may or may not have even been the driver of the vehicle.
The cameras distract from real public safety challenges. In Tennessee’s big cities, the most important problem with respect to public safety is what’s happening in our neighborhoods, not at red-light intersections.
Some motorists are racing through neighborhood streets, looking for a shortcut to their destination. To do something about the most serious public safety problem plaguing our neighborhoods, we need more speed humps, speed bumps, and other simple, cheap traffic-calming devices.
Lastly, based on the evidence, it is not clear that the cameras contribute positively to public safety.
True, two studies produced by a major manufacturer of traffic cameras argued that they did. One study, of a community in Florida, suggested that red-light cameras had reduced crashes there by as much as 72 percent. The authors of that study also published a poll purporting to show that 85 percent of respondents supported the installation of red-light cameras.
If you believe the company that makes traffic cameras, in other words, then you believe the cameras eliminate the vast majority of traffic accidents — and that almost everyone loves them.
In fact, other, more neutral studies show different results. According to a report commissioned by the federal Department of Transportation, the cameras do not change “angle accidents.” Further, the study finds large increases in rear-end crashes and many other types of crashes that occur at intersections. The study concludes that red-light cameras create (not reduce) public safety problems.
The red-light camera program is not a program of and for cities or communities. The red-light camera program is a program for the profit of private vendors that deploy the cameras and process the citation.
Plenty of individuals from both parties, from all over the country, have grave reservations about approaching public safety in this way.
At the federal level, legislation to ban red-light cameras has been proposed by members of both parties and from all areas.
For years, the ACLU on the left and the Tea Party on the right have opposed red-light cameras. And what’s more surprising is that both groups oppose them for largely the same reasons.
This issue is not about Democrats versus Republicans or urban versus rural areas. It’s about restoring credibility in government, fairness for motorists, and effectiveness to our public safety programs.
It might seem like you picked up a copy of the Flyer from 2004, but Every Time I Die really is playing the Hi-Tone next Monday. The metal core band from Buffalo, New York, started playing in 1998 and made it to Warped Tour-size success after 2001’s Hot Damn! And 2005’s Gutter Phenomenon. Every Time I Die were torchbearers of mid-2000s metal core, alongside bands like Norma Jean, Atreyu, and Evergreen Terrace.
When metal core took the country by storm, Memphis was no exception, and hundreds of kids spilled out of the suburbs and into venues like the Skate Park of Memphis, The Caravan, and The Riot to support the bands coming through town. While it might not have been the coolest chapter in Memphis music history, the metal core scene in Memphis was huge, with multiple promoters and venues building a strong foundation to make Memphis one of the premier places for groups of guys in questionably tight pants to come play.
Every Time I Die
When the Memphis metal core scene was at its peak, locals So She Sang and Nights Like These got dibs on all the good shows. Nights Like These would later go on to sign to major indie label Victory Records and release two acclaimed albums, a testament to the strength of the scene they came from. So She Sang has reappeared for a live show now and again, but the band has mainly been a recording project for the past few years. The band posted a new song on the internet in February, but then announced that this show will be their last. The show is all ages, and starts early, so plan accordingly.
Stephen Chopek recently moved to Memphis from his native New Jersey, and found a niche playing drums for both John Paul Keith and the guitarist’s project with Amy LaVere, Motel Mirrors. But Chopek also does his own thing, and “Systematic Collapse” is the first single from his new EP, Things Moving.
Chopek shot this video, using footage he shot while on the road, including scenes from Seattle, Washington, New Haven Connecticut, Rutherford, New Jersey, and Memphis. “I was touring a lot last year, and wanted to capture the moments between traveling and performing,” he says. “Most of the action in the video takes place at night, which is when I had time to get out and explore my surroundings”.
Chopek says the song is about the interconnected set of crises that defines our world today, but all is not doom and gloom. “The juxtaposition of a dancing horse, who also spins records, provides some comic relief for a song about a world in need of repair,” he says.
Music Video Monday: Stephen Chopek
How did Chopek’s music video come to be featured on Music Video Monday? He emailed me at cmccoy@memphisflyer.com! If you have a video you’d like to see here, that’s what you should do!
“Rock Me Slow” is Memphis director Edward Valibus second music video for Faith Evans Ruch. The gorgeous cinematography is courtesy Memphis camera ace Ryan Earl Parker.
“’Rock Me Slow’ is an emotional song to experience,” Valibus says. “In Faith’s previous music video ‘PBR Song,’ the video concept and song told of determination and courage to face the end of a romantic relationship. The inspiration for the video concept in ‘Rock Me Slow’ is to be a sequel. She’s now in solitude, reflecting on the past, and feeling the pain of heartbreak. We find her in a secluded environment to work out her feelings.”
Music Video Monday: Faith Evans Ruch
If you have a video you would like featured on Music Video Monday, email a link to cmccoy@memphisflyer.com.
Memphis is known around the country for its lip-smacking good BBQ, its toe-tapping Blues and Rock n’ Roll music, and, of course, its knee-slapping hilarious comedians! In honor of the 4th Annual Memphis Comedy Festival this weekend, we’ve compiled a list of the funniest, most recognizable local comedian types working in Memphis right now!
“My word, I’ve got a rather severe case of the giggles!!!”
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#7) Marquel (2Funny) Parram
Catchphrase:
“I can only tell you what I heard I did…”
Marquel (2Funny) Parram is one of the hardest working comedians on the scene today. You can find this Comedian anywhere there’s an audience in Memphis, and I mean ANYWHERE!
“I wanted to get strong as a performer,” he said, “so I figured I need to practice in as many different venues and in front of as many different audiences as I could.”
Not only has Marquel performed stand-up at Memphis’s top venues, he’s performed on street corners, buses, trolleys, grocery stores, doctor’s offices, carpools, and even at the zoo!
“You know a joke’s not good when you can’t make a hyena laugh.”
Marquel has been on the Memphis Comedy scene for four years now and said he is ready to make the transition to full-time comedian. He has had semi-recent success opening up for the ducks walking at the Peabody. You can see Marquel (2Funny) Parram…well…anywhere!
Our number six pick is the wild Josh Feveret! Josh moved to Memphis from Chattanooga just three years ago. And since then he has shook up the local comedy scene. Josh has often made a habit of riding the lines of appropriateness when it comes to his standup sets.
“Comedians today have to be shocking in order to get any attention,” Josh said. “I may say things that might offend you, but that’s part of the art of standup.”
Josh did make local headlines recently when he briefly set himself on fire during one of his standup sets at the P&H café’s open mic night.
“I wasn’t getting any laughs that night, so I thought well… let’s kick things up a notch. In hindsight it probably wasn’t the best decision, but that’s what open mics are for. The paramedic did laugh a little when I asked her for a light before they took me to the emergency room, so I’d say the night wasn’t a complete waste.”
Josh will be opening for a local punk music band The Mindless Ripoffs this Saturday at Murphy’s bar.
“I thought this was a music open mic not a comedy one, but the host said I could do a few songs before you guys start.”
Thomas J. Freeman has been part-time musician in Memphis for the past 12 years. He doesn’t consider himself a comedian, yet will religiously show up to all the comedy open mics and shows in Memphis asking for stage time.
“Otherlands coffeeshop won’t have me back anymore because apparently you have to order something once in a while, which I am against,” he said. “Also they really only want you performing during the open mics, not to people trying to use the Internet.”
Thomas hopes to soon sell at least 10 of the CD’s he’s made of all originally songs he recorded in his sister’s boyfriend’s bathroom. The album is called “Echos by the Throne.” Buy it online here.
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#4) Jessica Talbert
Catchphrase:
“I may not know a lot, but one thing I know for damn sure is that airplane fuel doesn’t burn hot enough to melt steel!”
Young, energetic, and fearless are three worlds that come to mind when you think of this up-and-coming Memphis comedienne. Some comics like to do impressions, others tell stories of their personal life experience, but comics like Jessica like to go more political.
“It’s easy to make people laugh. I mean look at the New World Order!” She said. “Our reptilian shape-shifting lizard overlords have been laughing at our ignorance for years. Wake up people!”
Recently Jessica has taken time off from her full time job as a blogger for ChemtrailsAreBrainControl.com to focus more on her stand-up career. Although she has yet to finish a complete set without the microphone being cutoff, she is releasing her first full-length comedy album called “Live from Hollow Earth.” You can see Jessica perform at the back porch of most bars trying to get you to stop drinking water. Also check out her Podcast, “Tinfoil Hat Thoughts” on the Shut up and Listen Network.
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#3)Tim “The Biff” Johnson
Catchphrase:
“It’s Biffing time!!!”
This comedian has the largest and most loyal fan following in Memphis. His high energy comedy is a force to be reckoned with. It’s hard to find any comedy fan in Memphis that doesn’t enjoy a good “Biffing”. He is one of many headlining comedians working in Memphis, but what sets him apart from the others?
“It’s the Biff-Squad, definitely,” he said. “My fans are come out in full force waiting to get biffed, and what can I say? I always deliver.”
Tim Johnson has been doing comedy for 18 years now and has a career ranging from stand-up to movies to theater.
“The Biff has done Shakespeare before; the Biff can do it all.”
You can see Tim “The Biff” Johnson getting his Biff on at his comedy showcase at the Cooper Penny off Central Avenue the 12th of every month. Click here for official Biff Merchandise.
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#2) DJ Tickle-Cheeks
Catchphrase:
“Goo goo…haaaa HAAA Ppppppffftttt drrrrrppp ma ma ma….”
Who said this list was only featuring stand-up comedians? You may not recognize his face, but you’d definitely recognize his voice! DJ Tickle-Cheeks hosts the #1 podcast in Memphis, “Nap Time; Snap Time” on the OAM Audio Network. DJ Tickle-Cheeks got his start in comedy when he ate spaghetti for the first time. Combined with a deep appreciation for dubstep music, DJ Tickle-Cheeks has built a strong following here in the city of baby blues.
“We cannot wait till he gains more control over his motor skills and is able to actually hold his head up to the microphone, then there is no stopping him,” said audio producer Gil Worth.
And finally we come to our number choice for best local Memphis Comedian…
A Horse
Catchphrase: (N/A)
It’s a horse guys, horses can’t talk.
As most of you know there is a horse that appears randomly in Memphis comedy clubs and venues.
“Oh shit, that horse is back” is a common phrases said by host and hostess at open mics and showcases.
“He just keeps to himself most of the time, which is fine when a show isn’t going on. But have you ever tried making an audience laugh when there is a 900lbs thoroughbred horse standing in the middle of the freaking room”, said one Memphis comedian. “He goes to like 80% of the shows in town, and he doesn’t even laugh! He just stands there knocking shit over.”
You can find the Memphis Comedy Horse at a majority of comedy venues in town.
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And there you have it! The undisputed top 7 entirely made up comedians working in Memphis! If you’d like to see the real, hardworking, and funny local comedians in Memphis, this weekend’s Comedy Festival is the perfect place to start.
For a listing of shows, tickets, and venues go to MemphisComedyFestival.com. All joking aside, Memphis does have a very strong, very funny comedy scene and they deserve to be recognized. Go out and see a show and support local performers and artist. BE A PART OF IT!!!
Mike McCarthy is a standup comedian who is sometimes confused with Mike McCarthy the filmmaker and occasionally mistaken for the Memphis Comedy Horse. He is also a Wiseguy and contributor to Fly on the Wall.
Comic on Comic: An Insider’s Guide to Memphis’ Comedy Scene (2)
Whether skies are grey or blue, Memphis has a thing for the King, who would have been 80 today. Let’s not think about the movies or the carpet pile.Those are for fools to ponder. His best work was done here in Memphis. At Sun, he changed the world. At American, he reasserted himself into the culture as one of the ultimate honkey badasses of all time. It’s hard not to dwell on the lost potential and the genuinely tragic downfall. But under the artifice, there was a hell of a singer.
There are three videos after the jump that find him on his own terms: His first recording was for his mother. He paid for the session himself. The second is the sit-around from the ’68 Comeback Special. This is staged, but it’s an attempt to distance himself from the trappings of Hollywood schlock. The King floors his engine on “Lawdy Miss Clawdy.” Finally, some rehearsal footage: He’s started to slide at this point. But he is enjoying making music, and it’s a powerful thing to watch.
On the one hand, short films tend to get short shrift. Aside from a few Pixar animated shorts, they are rarely seen in theaters outside of a film festival setting. But on the other hand, thanks to YouTube, short films have never been more popular — even if most of them are cat videos. Distributors are usually reluctant to take on shorts, which makes it remarkable that one of the best Memphis-made short films of the past few years, Fresh Skweezed, is getting an internet release by Music+Arts on December 16th.
The 22-minute film stars Haley Parker as Maggie, the 11-year-old spelling-challenged proprietor of a trailer park lemonade stand. Writer/director G.B. Shannon created the role specifically for Parker after seeing her act in another short film at the 2010 Nashville Film Festival. “She was fantastic,” he recalls. “She just had a small part, but she stole every scene she was in. She had such great command of the screen, and I think at the time they shot it, she was just 8 years old. So I turned to Ryan Parker and said, I’m going to write something for her.”
Haley Parker stars in Fresh Skweezed.
He came up with the concept for what would become Fresh Skweezed while driving to work at Beale Street Studios one morning. “I thought, ‘A crooked lemonade stand! She’s the flim flam man of the neighborhood.'” He wrote the screenplay over Soul Burgers upstairs at Ernestine & Hazel’s.
“When I first read the script, I cried,” says Parker. He is an amazing writer.”
Parker’s portrayal of Maggie, a tough little firecracker who uses her wits to fight off a bully named Cody (Caleb Johnson), is remarkably poised and expressive. Even with a cast of some of the best screen actors in Memphis, including Lindsey Roberts, Billie Worley, Kim Howard, and Shannon himself, she owns the screen. The audience thinks they know exactly what’s going on in her mind, right up until the script pulls the rug out from under them. “When we started casting the other parts, I got worried,” says Shannon, who co-directed the piece with cinematographer Ryan Parker (who is no relation to Haley). “Did we put too much on this little girl? It’s 20 pages long, and she’s in every scene.”
But Shannon was amazed when she came into auditions with a fully realized character. “I had worked on it quite a bit before the audition process rolled around because I didn’t want to let anyone down,” Parker says. “Maggie was a lot like me. She was easy for me to play, and I really had fun with her.”
The script originally called for a suburban setting, but the crew had trouble finding a suitable place that looked good and would allow filming. Then they stumbled upon a trailer park in Millington that had been evacuated during the floods of 2011. “It was like we had our own sound lot,” Shannon says. “Everything was there.”
Filmmakers love to regale each other with stories of onset disaster, but Shannon says “it was one of those magical shoots where nothing went wrong.”
The film was shot on a few consecutive weekends. “I wished it had lasted longer, because we had a really great time on the set,” Parker says.
Editor Eileen Meyer was brought in for the cut, because, Shannon says, “we wanted a female perspective. She added a couple of elements that we never would have thought of.”
It was during the sound mixing and scoring that Ward Archer’s Music+Arts became involved, supplying music by Amy LaVere, Robby Grant, Rick Steff, and Roy Berry. “Because he has these great artists at his disposal, it’s pretty great how it works out,” Shannon says. “Having that here is pretty amazing.”
The film won both jury and audience awards at its Indie Memphis premiere and went on to play in 18 festivals across the country, winning several more accolades including a Best Actress award for Parker at the Newport Beach Film Festival. After its almost two-year festival run was over, Shannon reconnected with Archer at the premiere of Mike McCarthy’s Cigarette Girl, which was Music+Arts’ first film release, and they worked out a deal to distribute Fresh Skweezed on internet streaming video services such as iTunes, Amazon, and VUDU. Shannon says they are enthusiastic about the possibilities: “If he can keep doing this — having a cinematic sound mixing operation and then releasing as well — it will be fantastic.”
Parker, now 15, has acted in several more films and is currently trying her hand at writing. “I am so proud to be a part of Fresh Skweezed. It’s just been an amazing experience all around — the filming, the production, the film festivals have just been amazing.”
When Robert Gordon was writing his seminal 1995 book It Came From Memphis, a name kept popping up amid the wide cast of musicians and freaks who populated the city’s music scene. “I knew around here he was a legend,” Gordon says. “A great talent who kind of got on the wrong side of the law, liked it, and stayed there.”
Jerry McGill had done one rocking single on Sun Records in 1959, and had reportedly been a crony of Elvis, Johnny Cash, and Waylon Jennings before disappearing in the 1970s. Years later, when Gordon was working on Stranded In Canton, a documentary he edited together out of the raw, chaotic video footage of the Memphis underground shot by William Eggleston around 1973, he found some scenes with someone who was said to be McGill brandishing a gun and playing Russian roulette with art provocateur Randall Lyons.
Rogues Gallery
Jerry McGill (right) with a rouges gallery of Memphis musicians in the 1970s.
Gordon had filed the story of the missing rockabilly outlaw with the rest of his extensive collection of Memphis music history, never really expecting to find out what happened to him. “Then Jerry popped up on the internet,” says Gordon.
Jerry McGill
It was 2010, and McGill, now 70 years old, had just gotten out of prison, and Irish director Paul Duane wanted to meet him. “Paul is a guy who is drawn to characters, like I am,” Gordon says.
Duane got a grant from the Irish Film Board and flew to America to shoot a documentary about the outlaw that would become Very Extremely Dangerous. “They trust him to turn a really out-there idea into a good film. I’m not sure they expected as out-there a film as this one,” Gordon says.
Three days before the cameras rolled, McGill was diagnosed with lung cancer. “He bared his soul. He was staring into the face of death,” Gordon says. “He said, ‘Ask me anything’. So we got these great true crime stories.”
Word spread McGill was back in town, and a recording session sprang up at Sam Phillips Studio with Roland Janes and a host of Memphis all stars, and a gig was scheduled for the Hi-Tone. But Duane and Gordon, tagging along with the cameras, soon discovered they had gotten more than they bargained for. What they thought was going to be a story of redemption turned out to be a film vérité ride-along through the Memphis netherworld with a genuine hard drinking, hard drugging man who always seemed one shot of rotgut away from epic violence. “What none of us could know when we started this project was that we were catching a 70-year-old outlaw on what he thought was going to be his last great tear,” Gordon says. “There were times when we thought Jerry had a death wish, and we were being careful to not go with him when he finally took himself out.”
With Duane flying back and forth from Dublin to Memphis and Gordon acting as producer and often camera man, Gordon says they captured a once-in-a-lifetime story. “It was a really interesting combination of me, the local, and Paul, the outsider. It took his distance to see this. In the beginning, Jerry was charismatic, but there are lots of charismatic people. It took Paul’s vision from afar to see that there was more going on here, and we needed to persevere. This movie is made out of our perseverance. That’s what happens in a documentary. All of the sudden, the movie is not about what you thought it would be about. So you have to enter the editing room and find out what it’s about.”
One day, when the duo picked up McGill to take him for a doctor’s visit, McGill demonstrated for the filmmakers how to prepare and inject prescription opiates while the camera, and the car, rolled. “When he shot up in the back of the car, I couldn’t believe it,” Gordon says. “Every time I would go out with him, it would be a new surprise, until I kind of thought I had seen it all. That just goes to show you how naive I was.”
Very Extremely Dangerous screened at Indie Memphis in 2012 and will soon be released on DVD by Fat Possum Records along with the film’s soundtrack, a retrospective of McGill’s work with some Memphis legends, including Jim Dickinson and Mud Boy & the Neutrons. “Jerry’s album is really great,” Gordon says. “To me, it’s got some of the best Mud Boy and & the Neutrons performances ever. When I heard them, I was shocked that something this good had never made it out of the box. If the only thing that this movie accomplishes is to bring attention to the album, it was all worth it.”
COURTESY OF LANSKY’S ARCHIVES 
Rogues Gallery 