Maverick // Current

Pixies’ Powerful Doolittle Tour Blends Surreal Sonics, Visuals

After celebrating the 20th anniversary of its pop-punk classic Doolittle with thankful fans across the pond, the legendary Pixies has returned to America to share its noisy love of surreal sonics and eye-candy visuals. That deafening blast you hear is thousands of Pixies monkeys gone to heaven.

Not that the quartet is being met only by longtime fans. After fracturing in the early ’90s upon the release of blistering full-lengths like Doolittle and Surfer Rosa, the Pixies — guitarist and shrieker Black Francis, bassist and vocalist Kim Deal, guitarist Joey Santiago and drummer David Lovering — are more popular than ever. And judging by the joyous crowd that sold out Wednesday night’s rowdy set at the Hollywood Palladium, the first stop on the U.S. leg of the Pixies’ Doolittle tour that wraps Dec. 1, die-hard fans and new adopters alike have spent time since the band’s 2004 reunion memorizing its brilliant songs and esoteric B-sides.

Doolittle was always the artiest of the band’s releases, from the biblical estrangement of the record’s lyricism to the dark and suggestive sleeve art from graphic designer Vaughan Oliver and photographer Simon Larbalestier (exhaustively collected in the Pixies’ recently released mega-box Minotaur).

That spirit was celebrated before the concert with a screening of Luis Bunuel and Salvador Dali’s infamous 1928 surrealist short Un Chien Andalou (mashed at right with the Pixies’ “Debaser”). The film was met with cheers that escalated into howls once its ending bled into the groovy boogie of the B-side “Dancing the Manta Ray.”

By the time the Pixies had galloped through rarely performed B-sides like the sinister “Bailey’s Walk” and the spastic “Weird at My School,” the crowd was ready for the A-list.

Francis and crew didn’t disappoint, quickly blazing through Doolittle’s abrasive opener “Debaser,” whose Andalou-inspired surrealist lyrics about “slicing up eyeballs” matched perfectly with the banned silent-film clips of the 1920s compilation Forbidden Images, which was projected on a massive screen behind them. The synesthetic merge brought a measure of high-end live production the band never received in its earlier, less appreciated life. Spearheaded by the Pixies’ trusty lighting designer Myles Mangino and Paul Normandale, and complemented by 11 new films from Judy Jacobs, Tom Winkler, Brent Felix and Melinda Tupling, the viz added eye-candy dimension to Doolittle’s deranged sonics.

The hybrid hits kept on coming. The screen bled red to the Pixies’ jagged dirge “I Bleed” (pictured above). During the twisted love song “Hey,” key phrases came to life in Tom Winkler’s hand-drawn animations. A rousing rendition of “Monkey Gone to Heaven” mashed Oliver and Larbalestier’s photography into the song’s performance, drawing hoots and screams from an ignited audience shouting “God is 7!” at the top of its lungs.

Things turned stranger during the split-screen video accompanying the band’s hit single “Here Comes Your Man,” where four digital Pixies bobbed happily behind their real-time counterparts on the stage. The goofy reel was an odd backdrop for a song the Pixies once seriously disliked, and hardly ever played live back when they were tearing into each other during the late ’80s. But the cognitive dissonance did nothing to erase the show’s momentum.

In fact, by the time the band landed on Doolittle’s galvanized closer “Gouge Away,” the audience’s love had amplified to the breaking point. Its unrelenting applause and shouts brought the Pixies out for two encores, to play remaining Doolittle-era B-sides like the hypnotic “Wave of Mutilation (UK Surf)” and epic “Into the White,” as well as Come On Pilgrim and Surfer Rosa winners like “Isla de Encanta” and “Gigantic.”

http://www.wired.com/underwire/2009/11/pixies-anniversary-doolittle-tour-bleeds-surreal-sonics-viz/After celebrating the 20th anniversary of its pop-punk classic Doolittle with thankful... more

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Original 'Maverick' family upset that McCain coopts their name (VIDEO)

Before "maverick" became an overused trademark of the McCain-Palin campaign, it was a word meaning an unbranded strayed calf. But before that it was the family name of 19th century Texas lawyer and land speculator Samuel A. Maverick, who let some cattle he had acquired in payment of a debt run wild on land he owned while he lived comfortably in town.

Samuel Maverick's descendants have remained prominent in Texas affairs, and some of them are not happy about John McCain's co-opting their family name. "It's very irritating, because he is not a maverick," Fontaine Maverick told CNN.

According to Fontaine, the real "original maverick" was her grandfather, Maury Maverick, "a radical politician from San Antonio who served two terms in Congress (1935-1939). There, he led a bloc of progressive Democrats who sought to push Roosevelt and the New Deal to the left. The press quickly labeled this group 'The Mavericks.' While hugely popular with the the many poor Hispanics in his district, Maverick was far too liberal for the conservative Texas Democratic establishment. In 1938 he lost the Democratic party primary after being slandered as a communist."

"Grandfather Maury was no coward," Fontaine told Huffington Post's Charles Karel Bouley. "He chased the Klan right out of San Antonio once, stood up to the mob... Maury was burned in effigy in San Antonio, for his defense of members of the Communist Party's right to assemble, for his defense of the Hispanic community, support for those who didn't have a voice."

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