Author: mdavidhornbuckle

  • Birmingham Free Press Presents

    ImageOur erstwhile alternative to the alternative newspapers, the Birmingham Free Press, has not printed a broadsheet edition since December due to budgetary restraints. We have a few advertisements in the paper, but not enough to cover our print bill. To address this setback, we are introducing a series of fundraising shows. And yours truly will be the host.

    The first of these is tonight, March 29, at Bottletree, featuring Voices in the Trees, the High Fidelics, Ghost Herd, Red Mountain Family Band, and Opera Sextronique. The bands start at 8pm (despite what the graphic to the left says), and the cover is $7.

    The second show is at the Nick on Wednesday, April 4. That show will feature Jerolyn, Devour by Infection, Throng of Shoggoths, Thothamon, and Braineaters.

    On April 14, we will be hosting a show at Metro Bar with Mile Marker Seven, John Elrod, and other acts TBA.

    If these shows go well, we will probably continue the series. Some shows may be fundraisers. Others may just be regular shows that we curate. Still others might just be themed parties or mixers for people in the Birmingham music industry. Our inimitable all-things-BFP-Music guy Lee Waites has many ideas about directions this series might go.

  • Steel Toe Review Anthology #1 is Here

    The Steel Toe Review Anthology featuring the best pieces from our first year online is now available. Those of you who contributed work or donated to our kickstarter campaign should be getting your complimentary copies in the next few days.

    Click here to buy a copy from lulu.com.

    You can also check out our classy promo video:

  • My Night at Gip’s

    I used to be really into the blues. Like really, really into it. If you remember Ralph Macchio’s character in Crossroads, I was very much like that when I was fifteen, right down to the mullet haircut and cheap fedora. Muddy Waters, Howlin’ Wolf, Robert Johnson. I couldn’t get enough of that stuff. But then, somewhere along the way, I did have enough.

    It was probably partly because the more I learned as a musician, the more the potential of blues became limited for me. It was also because I was never comfortable with the idea that privileged white people like myself had what it takes to really play the blues. I got tired of trying to fit into that mold, and I got extremely tired of watching and listening to other middle class white musicians playing Clapton-like solos over a 12-bar blues progression and singing about how hard life is, then going back to their day jobs as attorneys. The blues for my white suburban experience became garage and punk rock, and I left the blues far behind.

    You see, the old blues masters earned it. These were blue collar guys, or often even lower on the socioeconomic scale than that—itinerant farm hands who were just barely not homeless. Life for them actually was hard. But on a Saturday night, they could put their resources together, get some cheap whisky and some old guitars, and they’d let loose.

    Gip Gipson is that kind of a blues man.

    At Gip’s Place in Bessemer, ten miles down County Road 18 from my neighborhood in Birmingham, on any given Saturday night, there is an old style blues party going on—working class people drinking cheap beer or hooch and living it up because it’s Saturday night, and that’s just what folks do around here. I felt a little like a tourist or a voyeur at times, but there were a lot of other tourists there like me too. Many of the performers there are the same white baby boomers that drove me away from blues music in the first place. They are, most of them, well trained, expert, and experienced musicians. I can appreciate watching them play for sure, and I was having a good time. It was pretty much what I expected.

    What I didn’t expect was what happened after the headlining act was done. Gip himself comes out, helped onto the stage by an assistant. Gip is 90 if he’s a day. His Facebook page says he’s a gravedigger by profession. They have to help him into his chair, hand him his guitar, adjust the microphone for him. He has a little paper shot glass, and the assistant pours something from a mason jar into it. Gip downs it, and then launches into his first song.

    He plays a very old style of blues guitar, a straight off the farm kind of finger picking where he drones a simple bass pattern with his thumb while plucking out a rough melody on the higher strings. The melody of his vocal line matches the melody he’s playing on the guitar. There’s no “blues scale” or “12 bar blues chord progression” for Gip. He plays one chord until he feels like moving to the next one, and I’d bet he doesn’t know or care what that chord is called by studied musicians. He has at least two strings out of tune, and he’s foggy from drink, inconsistent with his tempo, but it’s still somehow amazingly listenable. It’s because he has earned it.

    And because he is there, still alive despite everything, against all odds, he represents so much that is today extremely rare to find. And it’s Saturday night, and that’s just what he does on Saturday night. He is selling transcendence at $10 a head. It’s a bargain. I’ll never be a blues man, but I’ve rediscovered what I initially loved about this music.

    After a couple of songs, he looks longingly at his empty shot glass. My friend Ian goes up the stage with his flask, pours a little whisky in the cup, and now Gip is his best friend.

    Ian asked Mr. Gip how he learned to play the blues. He said that he had been travelling with Robert Johnson (yes, that Robert Johnson), and they were in New York. He was talking to a woman and said he was from Perry County, Alabama. At that, the women slapped him. “That was the moment,” Gip said, “when I decided to become a blues musician.” It’s possible that none of this is true. It doesn’t matter much.

    At two in the morning, all the other musicians have packed up and gone home. Gip is back on the stage, and there are five of us still sitting there in awe. He’s still doing shots of whisky. He’s selling us on Jesus between songs. He will make it to church on Sunday morning. He never misses it.

    This should be a once in a lifetime experience, but somehow it happens every Saturday night. For now. The way Gip looks, this might not last much longer. And it’s just one more thing about Alabama that is full of mysteries and wonders.

  • Proof

    I woke up this morning thinking, “I should have gotten my proof copy of STR yesterday.” Looked out the front door, and there it was. After I fix a couple of things I already noticed, I’ll send a new PDF and bam! It’s done. The final version should be available for sale in a few days. I will most certainly keep you posted.

  • Nothing Good

    I’ll take a short break from shameless self-promotion here to promote the product of a great friend, George Mostoller. This is one of my favorite tracks from his new album, Cooking with Dynamite, recorded under the name Hawk Tubley and the Airtight Chiefs.

    George and I were in a band together called the Freeloaders in 1993-94, along with Tym Cornell and Don Thomas. We have written many many songs together, and I still perform one or two of his songs once in a while with Ghost Herd.

    Tym produced this album at Wild Honey Studios.

    This track also happens to feature some of my all-time favorite performers: Davey Williams, Oteil Burbridge, and Marshall Allen.

  • Archives: The Office Party

    Note: This very silly short story was originally published on McSweeney’s Internet Tendency several years ago. They removed it after it was re-published in my collection, the Salvation of Billy Wayne Carter and Other Stories.


    The Office Party

    (1) IVAN WURKINONDA REILRODE

    Ivan is alone, the first to arrive. He turns on the lights and walks over to the punch bowl. Empty. Green and yellow streamers hang like cobwebs from the ceiling. The garbage cans are overstuffed with paper plates and broken styrofoam cups. He bends down to feel the dark stains on the carpet–still wet. Moving closer to the floor, sniffing like a hound, he stretches his tongue out for a sample of the offending liquid. “Piss,” he says to himself. He springs to his feet yelling, “Piss! Piss!” He loosens his tie and takes off his shirt. “Piss!” The tiny gray hairs on his chest stand on end from the sudden chill. He growls. He takes off his shoes and throws them the left one at the punch bowl and the right one at the fax machine. The machine falls with a clank to the floor, and a note flies from it like the last feather of a gunned-down bird.

    He puts his shirt back on and walks into the kitchen. Someone is there, waiting in the dark.

    (2) ALDA LIVELONG DAY

    “No one is bringing any sweets,” Alda laments as she scans the volunteer list. “Everybody is bringing salties. What’s a Christmas party without sweets?” She gazes around in wonderment, ignored. She turns to Kent at the next desk. “Excuse me, Kent.”

    He turns around.

    “I hate to bother you, but do you think you could bring something sweet to the party instead of this?” She points on the list to an item, Dill Weed Oyster Crackers, next to Kent’s name. “I know your wife makes wonderful chocolate cake and rum balls–you brought them last year. I wondered if you could bring something like that instead, ’cause everybody’s bringing salty things, and nobody’s bringing sweets.”

    Kent shrugs. “Well, I’d have to call her and ask, but I hate to do that since she’s moved out of the house and all.”

    “Oh, I’m sorry. I didn’t know. I’ll ask somebody else–don’t you worry about it.”

    “Oh, no. Wait. I’ll ask her. Really.”

    “I couldn’t ask you to do that, Kent. Just don’t worry about it. I need to ask other people anyway. Dinah, are you off the phone? Good. Now tell me, just what the heck are Creamy Weenies?”

    (3) IVAN WURKINONDA REILRODE

    Everything he hates. Why he condemned himself to this purgatory, he can’t remember. First time he’s been around average joes since he was in high school–never had to deal with people like this in college. Forgotten how warped their values were–how susceptible to television culture they were. Disgusted, he quietly leaves the party. He can’t even bear to look at them.

    As he turns the corner, he passes a newsstand where three men in suits are talking on cellular phones. “Stand firm,” one of the men says into his receiver. “Don’t let them talk you into doing anything you don’t want to do.” Ivan enters a coffee shop on the left side of the road. His head begins to itch.

    Something he was supposed to do. People on park benches. A slip of paper in his pocket, which he now decides to read. “Shit,” he says, and he turns back toward the office. For a few seconds he runs, then he walks.

    (4) JUSDA PASDA TIMAWAY

    “Every Friday we have mahi-mahi. Grilled mahi-mahi, baked mahi-mahi, barbequed mahi-mahi, blackened mahi-mahi, broiled mahi-mahi with lemon pepper sauce. Mmmmm.”

    (5) KENT YAHIR DEWISSELBLOEN

    “Rhiza, this is my roommate, Ben DaCapenschouten.” Rhiza is so butch. She’s his idol. Lord, it’s warm in here, he thinks. “Good to meet you, Ben. My, you both have such unusual last names. How funny that you would end up as roommates. What do you do?”

    “I’m in the food distribution business, in management,” Ben tells her, smiling. He points to his necktie, motifed with the Taco Heaven emblem.

    “That must be interesting,” Rhiza says wryly.

    (6) RHIZA NUPP

    “I can’t stay too much longer. One of the girls on my soccer team is having a period party tonight.”

    Alda says, “Is that similar to a costume party?”

    “No.”

    (7) EARL E. N. DE MOURNE

    Earl finds a slip of paper that has drifted onto his desk. He looks around to see who had left him the leaflet, but he can not determine the distributor. Shyly, he reads it.

    Earl folds the memo and places it in the breast pocket of his corduroy jacket.

    (8) KENT YAHIR DACAPENSCHOUTEN

    “Earl, do you have a minute?”

    “Sure, Kent. What’s up?”

    “Well, I need to have my name changed in the computer system. Since Ben and I got, you know, married, I had my last name legally changed to his.”

    “Sure, Kent. Just fill out this form, and I’ll take care of it.”

    (9) DINAH BLOYER-HORNE

    “What are these called again?”

    “Creamy Weenies,” Dinah says with a sigh.

    “Gee, they’re good,” says Alda. “Before you leave, I’ll have to get the recipe from you.”

    “Sure, Alda. No problem. They’re really easy.” Dinah walks toward the kitchen and waits.

  • Classic Hornbuckle: Quentin’s Bridge (1991)

    Here’s something from deep within the M. David Hornbuckle archives:

    Started in 1991, Quentin’s Bridge was my first serious band after high school. Far too serious for our own good, actually. I’d later go too far in the other direction, and I think I still have trouble balancing the intellectual and the goofy. The band was named after an incident in The Sound and the Fury, where one of the main characters drowns himself in the Charles River during his first year at Harvard. We’d first called ourselves The Dismembers, but we soon realized we weren’t metal enough for a name like that.

    We recorded a couple of demos tapes but never made an album. We were pretty sure we were about to become rock stars.

    Some samples:

    Salome’s Last Dance

    Shooting for Irony

    State of the Universe

    Telephone

    Whoa

    Midsummer

    Can’t Escape

    Waiting in the Walls

    Peace

  • Writing Rituals

    I was asked recently if I had any writing rituals.

    I would not say that I have a particularly consistent “writing ritual,” but I have certain habits that contribute to my writing. Most days, the first thing I do when I wake up in the morning is check my email and respond to anything that calls for a response, no matter whether it is personal, work, or writing-related. Next, I will usually make some coffee and try to wake up my brain with either a crossword puzzle or an online game of Scrabble.

    Next, I’ll spend a few minutes attending to some Steel Toe Review or Birmingham Free Press business. That might involve posting a story to one of the STR or BFP websites, doing a little research about something, or sending out a fundraising message. Once all that is out of the way, unless I have urgent day-job work to do, I can start working on some of my own writing.

    “Working on writing” might mean setting up an interview for a Birmingham Free Press article, adding to a fictional piece that I’ve already started, creating an outline, composing something for my personal blog, or any number of other things. I try to do as many of these activities as time permits every day.

    Whenever I have the time, and the weather is tolerable enough, I like to take long walks with a notebook in hand. I think over whatever project I’m working on as I walk, and I occasionally stop to jot down notes. I’ve been known to spend entire days doing this. Lately, this activity has been a rare luxury. I have a treadmill at home, and I’ve tried to use this to emulate the ritual, but it isn’t the same. I get too distracted by the timer and calorie counter, and I start doing calculations in my head instead of thinking about writing.

    When I’m writing at home, I like to have a dedicated beverage next to me. In the morning, it’s coffee. At night, it’s usually a glass of good bourbon or scotch. Afternoons I’m not too busy with day-job work and don’t have other plans, I will go to a coffee shop to write. Some evenings, I’ll go to a bar with my writing journal, the seedier the better, and take notes about people who are around, overheard conversations, etc.

    What I usually can’t do while I’m writing is listen to music, though it doesn’t disturb me too much when I’m working from a coffee shop or bar. If I do listen to music, it’s usually some sort of noisy avant-garde or free jazz selection.

  • Please Donate to Steel Toe Review

    Steel Toe Review, the online literary magazine that I edit, is publishing a print anthology featuring the best pieces from our first year online. The anthology will be available in mid-February.

    Earlier this week, we launched a Kickstarter campaign to raise money for this venture, and we are already almost half way to our goal. Please visit our Kickstarter page and pledge a donation. The sooner we reach the goal, the sooner we can complete production.

    STR Kickstarter page.

  • Ten

    I can barely believe we’ve made it to our tenth issue of Steel Toe Review–not without our ups and downs, but here we are not much worse for wear than we were a year ago. What’s exciting is that it seems to keep getting better with every issue. Even more exciting is the fact that we are on the verge of publishing a print anthology featuring the best pieces we published during our first year. And this is super important–we need your help with that project.

    Go to to our Kickstarter page to help support us. A pledge of even $1 is helpful. If you donate a little more, there are a number of rewards available, including free books and internet serenades.

    The impetus behind STR generally is to connect Birmingham writers and artists with a community of like-minded people elsewhere. The print anthology will further that goal by, literally, putting our work in peoples’ hands.

    In addition, we have a fancy new mailing list. You can now sign up voluntarily to have the new issue of STR delivered to your email whenever it comes out, free of charge. And when you are tired of us, you can simply unsubscribe.

    And finally–look! Issue #10 is here, and it looks very promising indeed.