Tag: Willie Nelson

From Pop Stars to Pitchforks: A Conversation with Megan Mullally

Posted on by Editor

Some people cover songs and some people downright inhabit them. Megan Mullally and Stephanie Hunt (aka the duo Nancy And Beth) take songs and peel off their clothes, give them a little sweet loving, read them some Proust, show them a few Mel Brooks’ films, and send them back out the door with a smile on their face, a pat on the rear, and a whole new way of seeing the world. Just queue up their version of Gucci Mane’s “I Don’t Love Her” from their new self-titled LP to see why: It takes some wildly dirty, arguably misogynistic lyrics and turns them all into a mischievous, vaudevillian coo that owns the words instead of falling victim to them. It’s also pretty darn funny, but don’t be mistaken: These two women can also sing the heck out of some George Jones.

Mullally and Hunt, both known primarily as actresses — Mullally, most famously on Will & Grace and Hunt, on Californication — have strong performing backgrounds, and though they’re 30 years apart in age, they’re kindred musical spirits. So they formed Nancy And Beth (and no, their middle names are neither Nancy nor Beth; they just thought the combo sounded funny), started performing live together complete with choreography, and created a hit list of songs to cover that range from country classics to blues standards to, yes, Gucci Mane.

Growing up in Oklahoma, Mullally actually got her start as a singer, training herself on her parent’s collection of records, and had her first big break in a Broadway musical back in 1995, before Will & Grace. Nancy And Beth is a serious project — it’s not a novelty act — but it certainly embraces a sense of humor and an era when artists viewed a concert as a place for well-rounded entertainment and that musical theater spirit. 

Your music is both carefully crafted and entertaining. Do you think that’s an approach that has been lost these days? Music is often either very serious and well done or silly and void of meaning — not both.

When I was growing up, there was much more of a mix of music, with someone like Roger Miller being on the more critically legitimate end of the spectrum, but then there were weird “itsy-bitsy-teeny-weeny” kind of songs, too. There was this crazy novelty aspect that you don’t hear anymore. Now everything is so dire, and I’ve gone through that phase, too, and that was fun and, who knows, maybe my next record will be like Beyoncé’s Lemonade where I just fucking rake [husband and comedian] Nick [Offerman] over the coals. Well, I guess he has to do something wrong first, which hasn’t happened yet. But there’s always tomorrow. [Laughs]

[Laughs] You’ve always done both acting and singing, but you’re known more as an actress. Why do people make such a big deal out of actors starting singing careers? Doesn’t playing music on stage have an element of theatrics and character play, anyway?

Well, there is a double standard. It’s totally allowed, if you start as a musician. But if people know you first as an actor, then no way. I’m perceived as an actress and suddenly it seems I have a band and, “No, that’s forbidden!” But if you’re a pop star and you decide you want to take a swing at acting it’s like, “Yes, please. Come and collect your Oscar!” Who knows? I stopped caring about it. But I did have a horrible interview with someone nameless for a smaller town paper and the guy didn’t get anything about [the band] — he was like, “It’s called Nancy And Beth. Well, as far as I can discern, none of you are named Nancy or Beth!” I was like, “Um, yeah, you’re right …” [Laughs]

Well, not everyone knows your back-story … or knows how to use Google, apparently. What was the music that you first fell in love with as a kid?

I grew up in Oklahoma and there was only one radio game in town, and they played everything: They had to be all things to all people. I think that influenced my taste for different genres. I know bands that have a distinct sound, but that’s why I like our live show: You go hear a band and, after about five songs, you’re like, “I’m bored.” We’re all over the place, and that’s why shows are so fun and everyone has such a great time. But I loved the Monkees — Davey Jones was my first love, not going to lie. My parents had a lot of Barbra Streisand and Judy Garland because, apparently, my parents were two gay men? But when they would go out, I would put those records on and pick a song and keep playing them over and over until I knew every song on the record, and that’s how I learned to sing. I always loved anything kind of bluesy, Barbra Streisand and Judy Garland fall into that category, I guess, but I had a feel for that. Early Bonnie Raitt and Janis Joplin, they had a bit of a bluesy flavor. I loved early Willie Nelson — I still love him. There’s something a little bluesy about a lot of country music from that era.

Do you enjoy modern country music at all?

I don’t know any of it, because it all sounds like power pop to me. “I got my pickup, I got my dog!” I mean, I love Patty Griffin, does she count?

Probably not! But that’s a lot of diverse influences. How did Nancy And Beth’s sound evolve early on?

[Stephanie and I] are like two little kids playing. I know that neither of us is particularly analytical. But we never had a conversation because we never had to, since it flows really easily and we just do whatever we want. We didn’t have a big “Come to Jesus.” I will say, the most kind of poignant interesting little detail is that we used to open all of our shows — we took a three-year break because of my schedule, but before that when we were performing at Largo [in Los Angeles] — we used to open every live show off-stage with just our tambourine and do that White Stripes song “Little Room.” It kind of sums up everything that is good about the band. And it reminds me of my childhood because I spent a lot of time literally in my room, making up all these elaborate scenarios that I would perfect and show to my mother who would unfailingly tell me I was a genius. I feel like that “Little Room” song is a great description of whatever it is that we are.

Your version of “I Don’t Love Her” is a great summary of what Nancy And Beth does well, too: It’s pretty hilarious, but also smart.

[When] that song popped up and I was like, “What a beautiful song title! So interesting.” Then I heard it, and I was like, “What? No!” And we were just dying. We were sitting on my bed with the lyrics printed out and, oh my God, we were dying. Then we added it to the repertoire and eventually the recording.

It’s a nice reclaiming of some unsavory words used to describe women … by our president, of all people.

Yeah, that is good. And I never change the gender. I want to be as true to the song as I can be and the gender doesn’t matter. That’s more interesting.

Speaking of our president, you’ve met him before: You guys sang the theme song to Green Acres together at the Emmys in 2006. Trump wore overalls while you were dressed quite glam as Karen from Will & Grace, which was perfect. You were competing for something called “Emmy Idol,” and best version of a classic television theme, and we all know how much Trump loves a good competition.

It was a stupid thing to begin with and normally something I would dismiss out of hand, and I was getting ready to do that when they said, “But we want you to do the theme to Green Acres with Donald Trump,” and I was as like, “Oh, wait!” At the time, it was the height of his popularity on The Apprentice, and everyone thought he was hilarious, like someone playing a character — pompous and extremely arrogant — and I don’t think anyone thought he was actually like that. Now we know different. At the time, it seemed like a great idea. It was called “Emmy Idol” and people were calling in and voting, and there was going to be a winner. So we rehearsed, and it was fine. I talked to him a little and was like, “This guy is funny,” since I was giving him a lot of shit and he seemed to roll with the punches. And I was like, “Well, that’s good, he’s playing a character.”

And now we know otherwise …

Well, then the next day the phone rang, and he called and he said, “Listen, we really needed to win that thing and we did, and you were a part of that. And not only did we win, but I heard we crushed it. It’s a landslide.” I thought, “This guy is out of his mind. Who cares?” I just thought it was funny to make Donald Trump wear a pitchfork and overalls. I thought that was funny, and that was the only reason I did it. He really wanted to win that thing, and he got his way. Then, when he was running for president, I was like, “Oh, shit! If he wanted to win Emmy Idol that badly, how much does he want to win this?”

Well, getting Donald Trump to hold a pitchfork was kind of your own win, I think.

And I am proud of that.

MIXTAPE: Bruce Robison’s Top Texas Songwriters

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Who better than to make a Mixtape of Texas songwriters than a great Texas songwriter? No one. That’s why we asked Bruce Robison to compile a collection of his favorite Lone Star State representatives. And we think he did a mighty fine job of it.

Cindy Walker — “Bubbles in My Beer” (Bob Wills version)

But also “Cherokee Maiden,” “You Don’t Know Me,” and many more. From Mexia, Texas. She helped set the tone for Texas songwriters from Texas later. Incredible depth and honesty, yet simple and beautiful at the same time

Lefty Frizzell — “I Love You a Thousand Ways”

Lefty’s influence as a songwriter and singer is hard to understand. The folks listening to his incredible string of hits went out and created what we think of as country music today.

Buddy Holly — “True Love Ways”

What Buddy Holly did in two years coming from nowhere is an accomplishment rivaled only by the band who named themselves after his band.

Roy Orbison — “Crying”

From Wink, Texas. I can’t imagine what rock ‘n’ roll would be without Buddy Holly and Roy Orbison.

Willie Nelson — “It’s Not Supposed to Be That Way”

For good or bad, the great Texas songwriters were not easily contained in any genre. Nothing much I can add to what’s been said about Will.

Kris Kristofferson — “Loving Her Was Easier”

I love the Glaser Brothers’ version of this, too. See above.

Billy Joe Shaver — “I’m Just an Old Chunk of Coal” (John Anderson version)

Scary, sacred, sublime. Old buddy of mine who managed Billy Joe for 10 minutes said he had storage units full of poetry in Waco somewhere. Wouldn’t surprise me a bit.

Guy Clark — “Instant Coffee Blues”

From Monahans, Texas. Took all that came before and changed the rules.

Townes Van Zandt — “Tecumseh Valley”

Fort Worth’s tortured genius.

Rodney Crowell — “Adam’s Song”

Rodney is in the pantheon and right here walking among us. Like Bob, he might not play all your old favorites, but then again, he might.

Hayes Carll — “It’s a Shame”

With humor and attitude and a weird-ass voice, Hayes is a great songwriter by any measure and the original type of artist we are really proud of down here.

Damon Bramblett — “Sweet Sundown” (Kelly Willis version)

Kelly and I and Charlie and others have cut Damon’s incredibly original songs. Johnny Cash meets Bob Dylan.

Robert Earl Keen — “Village Inn”

After Guy and Townes, Robert started another era of Texas country music songwriting.

John Fullbright — “Me Wanting You”

I know he’s an Oklahoma guy … I don’t care. He’s a great songwriter and 90 percent of his gigs and fans are probably in Texas. Go see him and request “Hoyt Axton.”

Courtney Patton — “It’s a Shame”

This will be a hit someday.

Willie Nelson, ‘Still Not Dead’

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Death: it’s no laughing matter. There’s nothing really funny about staring down the end of things, and most of us spend our entire lives — as long as we’re lucky to have them — thinking of clever ways to avoid the inevitable fact that, yeah, this wild ride is all going to end somewhere. Very few of us, however, have to be confronted with news of our own mortality on a regular basis: Our own obituaries are the one piece of journalism that none of us ever really expects to read, unless you believe in heaven and that God gets your local paper. Or, you’re Willie Nelson, and the media has obsessively reported on the fact that you may or may not be currently breathing since your hair first went gray.

But Nelson is breathing — and inhaling — as boldly as ever on God’s Problem Child, his newest LP, and he’s “Still Not Dead,” as he proclaims on a song written with his producer Buddy Cannon. Sonically, it’s like a bookend to his classic “On the Road Again,” buoyant and swinging: He’s still on the road to somewhere and he’s just as surprised as anyone that he’s alive and kicking. But shouldn’t we all be? Waking up in the morning is never a given; it’s a gift, and Nelson knows it. “Don’t bury me, I’ve got a show to play,” he sings, playing licks on his beloved guitar that bloom with both youthful vitality and aged wisdom. Nelson doesn’t value life because death is now tangible. He values life because he doesn’t live like it is. Thankfully for us, he plays music like it, too.

MIXTAPE: Lee Ann Womack’s Country Primer

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When we needed an artist to make us a Mixtape of classic country tunes, we turned immediately to Lee Ann Womack … and not just because we love her very, very much, but also because she grew up hanging out in an East Texas radio station while her father played some of the greatest country music ever made. LAW noted that these aren’t, necessarily, her favorite country songs and they don’t go all the way back, but they are certainly a solid representation of the genre’s great past which has absolutely informed its wonderful present.

Johnny Cash — “I Walk the Line”
The ultimate crossover artist, he took country beyond all boundaries. He’s not just one of the greatest country artists, but one of the greatest American artists of all time.

Bill Monroe — “Blue Moon of Kentucky”
He might have been known as the Father of Bluegrass, but music in the country genre was heavily influenced by Bill Monroe. I love — and have borrowed from — the mournful sound of his vocals, the electricity of the harmony vocals, and the drive of the instruments in his music.

The Carter Family — “Wildwood Flower”
Nicknamed the First Family of Country Music, the Carter Family were pioneers of mountain gospel and country music, utilizing harmony vocals in a way that would influence the country genre for many years to come.

Waylon Jennings — “Lonesome, On’ry and Mean”
He had a career as a sideman for Buddy Holly and as a disc jockey in radio before he ever came to Nashvillle to make country records. He was part of the first platinum country album, Wanted: The Outlaws, along with Willie Nelson, Tompall Glaser, and Jessi Colter. To me, Waylon was the epitome of the marriage of rock and country, bringing all of his West Texas vibes to ’70s country.

Tammy Wynette — “Stand by Your Man”
You’d be hard pressed to find someone who isn’t familiar with Tammy and her song “Stand by Your Man.” It’s been a controversy several times over! Her voice is like a broken heart poured directly through stereo speakers and her life seemed like a living, breathing country song.

Loretta Lynn — “Coal Miner’s Daughter”
The ultimate country female singer, she wrote and sang about her life, which reflected so many of the people in rural America and the things they were going through. Listening to her music, one could learn a lot about the times she grew up in, and that’s country music: real life.

Dolly Parton — “Coat of Many Colors”
Her Appalachian roots, so present in her voice and music and, obviously, in the lyrics she wrote. The perfect example of a country girl with bluegrass/mountain influences.

Buck Owens — “Together Again”
From Sherman, Texas, and, along with Merle, created the Bakersfield sound. As is often told, Buck influenced countless other artists in and outside the country genre, not the least of which was the Beatles. I always loved his use of the telecaster and harmonies via Don Rich, and could hear their influences in so many of the country acts that followed.

Merle Haggard — “Okie from Muskogee”
The smoothest and prettiest voice of the male country singers, I always loved Merle for his music and his appreciation of music. I love his playing and especially love his studious approach, pouring over the catalogs of masters like Bob Wills and Jimmie Rodgers — not to mention the blues and jazz music influences you can hear in him. He fascinates me. Along with Buck, they created a whole new country music scene in Bakersfield and refused to play by the rules. I love it.

George Jones — “He Stopped Loving Her Today”
I could do a whole list of just George Jones songs. To me, he surpasses all others because he actually created a new style of singing. Often imitated but never, ever has anyone come close to duplicating. As Gram said, “He’s the king of broken hearts.”

Hank Williams — “I’m So Lonesome I Could Cry”
A country boy with so much soul, he transcends any genre and is one of the greatest songwriters in all of music.

Willie Nelson — “Crazy”
An American treasure, Willie is another artist who really transcends all genres, but there’s no mistaking his country upbringing. He puts music first, before any kind of labels or boxes, and he definitely influenced Nashville and Texas music in a huge way and showed that, when it’s honest, country music and country artists can have mass appeal.

Dale & Ray, ‘Write Your Own Songs’

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Digging up an old Willie Nelson tune is never a bad idea, but it’s particularly good when the ones doing the digging are a pair of classic Texas troubadours, Dale Watson and Ray Benson, on their new duets LP, Dale & Ray. Watson and Benson, though nearly legendary in their own Lone Star circles, aren’t exactly household names, but they’ve paved fruitful careers through numerous albums, tours (solo, for Watson, and with his band Asleep at the Wheel, for Benson) without ever adhering to the rules and regulations of Music Row. Though Dale & Ray includes eight originals, it’s this take on Nelson’s not-so-polite kiss-off to the Nashville suits who watch the dollars roll in without ever lifting a finger — or a guitar pick — that is especially appropriate for any musician (or person, actually) who feels like the fruits of their soul are transformed into fuel for someone else’s BMW.

“So just lay on your ass and get richer, or write your own songs,” they chant in steely, warm harmony to the record executives who can’t see the difference between artistry and income. It’s a struggle not just limited to famous singers: Whether you’re a cook on a line, a surgeon or, well, a music journalist, there’s always a point where it feels like what looks like an artistic soufflé, or a life-saving procedure, or a carefully wrought album review to us only translates as income for others. Watson and Benson have managed to balance these opposing forces well enough — but even Nelson, who wrote the song for his duets album with Waylon Jennings, wasn’t immune to greedy fingers. It’s a good reminder from those who haven’t sacrificed an inch to keep rolling to your own tune. And if that fails? Speak up, Willie-style.

3×3: Itasca on English Folk, Good Whiskey, and All the Pie

Posted on by Amy Reitnouer

Artist: Itasca
Hometown: Millwood, NY
Latest Album: Open to Chance
Personal Nicknames: K.C.

What was the first record you ever bought with your own money?
Let's be real: I think it was Alanis Morissette or Soul Asylum.

How many unread emails or texts currently fill your inbox? 
Maybe two or three, but usually I try to see how long I can go without looking.

If your life were a movie, which songs would be on the soundtrack?
A bunch of English folk music for the mornings and then, by noon, you have Sir Douglas Quintet. All the big action-packed scenes have Willie Nelson and Jessi Colter. In the movie, there's a club I go to every night. It's always exactly the same — the doorman and the bartender say the same things to me every night. There are rolled-up hand towels in the bathroom and sweet perfumes in the air. Sonic's Rendezvous Band plays there every night. Sometimes they'll play in the backyard, though, and that's when it goes down …

What's your favorite word?
No no no … as soon as I think of a word to say I've already heard it too many times and it has to go to the back of the line.

Which sisters are your favorite — Andrews, Secret, McCrary, or Mandrell?
McCrary, such great voices and they have style.

If you were a liquor, what would you be?
Jethro T. Boots whiskey this month, unfortunately. 


Fate or free will?
This feels like a loaded question …

Cake or pie?
Pie — pumpkin, cherry, blueberry, chocolate, banana cream …

Sunrise or sunset?
Sunset!

MIXTAPE: The Capitol Theatre

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Up in the farther most corner of Westchester County New York, right at the Connecticut border, sits a renovated 1920s playhouse that also happens to be one of the best music venues in the Northeast, if not the whole country. The Capitol Theatre first opened its doors on August 18, 1926. Over the 90 years since, it has seen quite a few changes … and a whole lot of history. In the 1970s, the Cap was an A-list rock club before a 1983 change in ownership flipped it back to being a traditional theatre. More shifts happened over subsequent decades until the Cap's most recent rebirth in 2012 with Peter Shapiro (Wetlands Preserve, Brooklyn Bowl) at the helm.

Here, Shapiro takes us through the club's musical history, song by song.

Grateful Dead — “Ripple”

Jerry Garcia said it best himself: “See, there's only two theaters, man, that are set up pretty groovy all around for music and for smooth stage changes, good lighting, and all that — the Fillmore and the Capitol Theatre. And those are the only two in the whole country."

With that level of praise, it’s no wonder that the Grateful Dead played the Cap 18 times in 1970-1971 alone. To this day, members of the Dead still play the Cap.

Janis Joplin — "Mercedes Benz"

Perhaps the Cap’s most famous true story of rock history is that, on August 8, 1970, Janis Joplin wrote "Mercedez Benz" at a bar in Port Chester called Vahsen’s. Later that night, she performed the song for the first time at the Cap in what turned out to be her last New York show and her third-to-last show ever.

Hot Tuna — "Keep Your Lamps Trimmed and Burning"

Hot Tuna has the distinction of being one of the few bands to play the Cap in all three major eras that it's hosted rock bands. Jorma Kaukonen and Jack Cassidy have played the Cap stage four times in the '70s, three times in 1989-1990, and twice in 2014-2015. They were back again this year.

Derek & the Dominoes — “I Looked Away”

The Eric Clapton-led supergroup didn’t tour much in support of their classic album Layla and Other Assorted Love Songs, but on December 4-5, 1970, the Cap was one of the lucky stages to have hosted this group. Duane Allman was not part of the band’s touring lineup but he also played the Cap with the Allman Brothers Band that same year.

Phish — “My Sweet One”

When the Cap was first reborn as a rock venue in the late '80s, many of the '90s future musical innovators were just beginning to make a name for themselves. Phish gained a huge New York following in the early '90s with seven shows at the Cap between 1990-1992 before moving on to bringing 80,000 people to their own festivals. While drawing from just about every musical influence under the sun, the Vermont foursome never shied from showing their love of bluegrass and Americana on songs like this one.

Little Feat — “Sailin’ Shoes”

During the Cap’s '90s revival, many bands that hadn’t had the chance to play the theatre in its prime were finally able to take the stage. In 1990 and 1995, rock heroes Little Feat were able to bring their unmistakable melting pot of musical influences to the Cap. Since reopening in 2012, they’ve been back three more times, and on September 9 of this year, we'll make that four.

Bob Dylan — “Times They Are A’ Changin'”

When the Cap was reborn in 2012, Bob Dylan had his first performance ever at the Cap in the newly renovated theater. What better song to celebrate an exciting new time in the Cap's history.

Willie Nelson — “Somebody Pick up my Pieces”

The country legend made his long-overdue debut at the Cap with two consecutive shows on September 18-19, 2013. Not many artists of his caliber can say that they’ve had several generations of fans in their audience at the Cap.

Wilco with Billy Bragg — “California Stars”

Jeff Tweedy and company were well aware of their musical roots when they recorded “Mermaid Avenue” with Billy Bragg. Using lyrics from Woody Guthrie they crafted music that sounded timeless yet relevant for the 21st century. In 2014, Wilco sold out three nights at the Cap to mark their 30th anniversary, even throwing in a nod to the Grateful Dead with a cover of "Ripple."

My Morning Jacket — “Get the Point”

While their eclectic sound can range from garage rock to funk and electronic music, My Morning Jacket always incorporates elements of their Kentucky roots. Despite having already headlined major festivals and arenas like Madison Square Garden, MMJ stunned the Cap with a three-night run of shows in 2012. To make these intimate shows even more special, each show had a unique set list with no songs repeated from previous nights.

The Avett Brothers — “Morning Song”

Of all the bands that have brought the sounds of roots music and Americana to new audiences in the last 10 years, few have generated as much excitement as the Avett Brothers. Their 2016 show at the Cap sold out within minutes, providing fans with a special and intimate night. The Cap loves to book bands that are known to play much larger venues as a way to give fans a once-in-a-lifetime experience.

Ryan Adams — “To Be Young Is To Be Sad (Is To Be High)

Few people have held the torch of consistently prolific songwriting in America as long as Ryan Adams. While his musical ventures have taken him as far as metal covers and Taylor Swift interpretations, Adams always returns to his folk-oriented roots. In his debut at the Capitol Theatre on July 24, 2016, Adams brought along bluegrass group the Infamous Stringdusters and singer/songwriter Nicki Bluhm. The Stringdusters and Bluhm added lush harmonies and acoustic bluegrass instrumentation to his songbook.

Greensky Bluegrass — “Burn Them”

Ninety years later, the future is most certainly looking bright with up-and-coming groups such as Greensky Bluegrass set to carry the torch for roots music on the Cap stage. The Michigan bluegrass group will be making their debut at the Cap on September 17, 2016.

Nashville's 3rd & Lindsley celebrates its 25th anniversary this year with a MIXTAPE of its own.

Photo credit: Scott Harris

SHIFT LIST: Trae Basore’s Soundtrack of Youth and Young Manhood

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Unexpected combinations are Trae Basore’s specialty in the kitchen. The executive chef of Pearl & Ash in Manhattan’s Bowery district presents a menu full of imaginative pairings: Deep-fried sweetbreads are made even more indulgent with the addition of crawfish mousse; sour peanuts add a pop to charred rapini; and scrambled eggs get a briny boost from a few tongues of uni. An alum of Tom Colicchio’s highly regarded Colicchio & Sons, he posts his most eye-catching preparations to Instagram.

He may plate fancy, but the Arkansas native prefers more rusticated fare when it comes to his music. After an embarrassing early dalliance with Top 40 — the first CD he ever purchased was MC Hammer’s "Addams Groove” (“Watch the video,” he advises. “It’s hilarious.”), while his inaugural concert was Michael Bolton — Basore fell hard for Southern-minded music when he discovered a treasure trove of his father’s old LPs, including classics from Johnny Cash, Willie Nelson, and Lynyrd Skynyrd.

Those artists continue to be the backbone of his collection, so his Shift List playlist reflects his upbringing. “It’s the music I grew up listening to,” says Baesore. “If I go into a bar — I’m a big fan of Paddy Maguire’s Ale House on Third Avenue — these are the songs I’m looking for on the jukebox.”

At the tail end of high school and during his years attending the University of Arkansas, Basore began to get into bluegrass, folk, and jam bands. He attended a slew of Yonder Mountain, Old Crow Medicine Show, and Widespread Panic gigs. “I’d bring bongos and congas to shows to play beforehand,” says the chef, who also briefly flirted with playing the fiddle and the drums, “but I wouldn’t go on tour following anyone.”

These days, Basore only gets to listen to his favorites when he’s off the clock, though he did manage to catch Devil Makes Three playing at Terminal Five earlier this year. The chef bemoans the fact that he has given his staff free rein to choose what gets played during prep — and their tastes don’t exactly match up. “Unfortunately for me, Kanye is pretty big right now,” he says. “But as long as they’re happy, I’m happy.”

Once service starts, the restaurant’s official playlist kicks in, which highlights plenty of offbeat '80s rock from Talking Heads, David Bowie, and Paul Simon. “There’s no Whitesnake or Bon Jovi,” he assures.

Right now, when it comes to music, Basore is focused on finding a bluegrass band for his wedding, which is taking place back in his home state of Arkansas in September. “After picking the food — traditional dim sum for the cocktail hour and barbeque from Penguin Ed’s in Fayetteville — it’s really my only task,” he says. “I’d better not screw it up.”

Photos courtesy of Trae Basore

3×3: Sunny Ozell on Radiohead, Rome, and Reno

Posted on by Editor

Artist: Sunny Ozell
Hometown: Currently, Brooklyn for 12 years, but originally from Reno
Latest Album: Take It with Me
Rejected Band Names: Sunny and the Snowflakes

 

I got a certain someone a dope as fuck concert t that's over thirty years old…#claptonisgod #muddywaters

A photo posted by Sunny Ozell (@madameozell) on

Who would play you in the Lifetime movie of your life?
Diane Lane

If money were no object, where would you live and what would you do?
Paris or Rome, art historian

If the After-Life exists, what song will be playing when you arrive?
"Videotape" by Radiohead

 

I'm a regular Betty Crocker. Note craggy tops studded with salt flakes.

A photo posted by Sunny Ozell (@madameozell) on

What brand of toothpaste do you use?
Whatever has the least annoying packaging.

What was the last movie that you really loved?
Beasts of the Southern Wild left me completely altered. There's a me before I saw it, and a me afterward.

What's your favorite TV show?
The BBC's recent adaptation of War and Peace is astonishing. Paul Dano's acting was like watching transubstantiation …

 

Callin dibs on a forward facing seat @teddythompsonmusic @kellyjones77 @eegreasy @elmintserisf8c3 @zak.hobbs

A photo posted by Sunny Ozell (@madameozell) on

Morning person or night owl?
Night owl, always and forever.

Johnny or Willie?
Willie

Coffee or tea?
BOTH

Photo credit: Melanie Dunea

3×3: The Deer on ‘Broad City,’ Dolph Lundgren, and Cold Brew Coffee

Posted on by Editor

Artist: The Deer
Hometown: Austin, TX
Latest Album: Tempest & Rapture
Personal Nicknames: Mike: Deenyo or Peedlemont Greevy; Alan: Owlan Little Pants; Grace: Gracub; Noah: Nugiel; Jesse: Jezebel Slüzen.
Rejected Band Names: Grace Park & the Deer

 

Cominatcha @harvesthousedenton , @downtownartery , @thewalnutroom !

A photo posted by The Deer (@thedeermusic) on

Who would play you in the Lifetime movie of your life?
Dolph Lundgren as Grace Park; Keanu Reeves as Mike McLeod; Neal Patrick Harris as Jesse Dalton; Norman Reedus as Noah Jeffries; Jason Lee as Alan Eckert.

If money were no object, where would you live and what would you do?
Money is no object, because we are broke and we are living exactly where we want and do exactly what we want. However, if presented a scholarship, we would pursue underwater coral reef music graduate classes.

If the After-Life exists, what song will be playing when you arrive?
The Garden State soundtrack. Just kidding.

What brand of toothpaste do you use?
Saint Toms of Maine

What was the last movie that you really loved?
Grace: X-Men First Class; Alan: Supermensch: The Legend of Shep Gordon; Mike: Grand Budapest Hotel. Jesse: Moonrise Kingdom.

What's your favorite TV show?
Broad City

 

Back in the studio mixing with @fatfuse @gooddannys #schoenhut #musictomyears #semicircularcanals

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Morning person or night owl?
Owls all the way up

Johnny or Willie?
Willie

Coffee or tea?
Coffee, we smoke tea. Our manager brews us cold brew all day.