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They don't call singer-guitarist-songwriter Popa Chubby for nothing. His huge body seems to swallow the banquet he's sitting on, and his grin what he calls his "evil little smile" takes in the surroundings with the regal amusement of some Ottoman pasha. Popa has reason to be pleased. He has a new record out, "Brooklyn Basement Blues," (Dixiefrog), a calendar crammed with tour dates and has just landed a juicy part in Robert DeNiro's new film, "Analyze This." His press kit calls him an exponent of New York blues. How is that different from, say, Chicago blues? "During the Depression, people from the South went to Chicago because it was easier to get to than New York. Unfortunately the greats who originated the Chicago blues school have all left us and the new players only draw upon that one tradition instead of trying to find their own voice. The whole concept of blues in New York is a lot more diverse. In New York we're all bastards. The traditions there are wide and vast. We have jazz, blues, rhythm'n'blues and Latin traditions... and then there's the aggression factor, the way the good people there play. It's very visceral." Speaking of aggression, his liner notes make it sound as though he was one angry teenager. How frustrated was he, growing up and struggling to play the blues in Queens? "I never struggled for the music; music's the simplest thing in my life. Everything else is the problem! I am fortunate because most people spend a good part of their lives trying to find the central passion of their lives. I've always known what mine was. Music offers me expression for my creativity and individuality. Without it, I would probably have committed suicide, or murder, or both. Oh definitely. I do have a lot of rage and anger and without the expression that music's given me, I would be a bad person." Long pause. "Instead of the wonderful person I am." Evil little smile. I note that Popa brings a certain sensibility to his performances that's more often associated with rockers or rappers than bluesmen. "I can certainly relate to gangsta rap but unfortunately these days a lot of it is just fronting. It's like any musical form nowadays; the mainstream is totally incorporated into it, and subjugating it. The industry controls it and just looks for the people who will provide the right image. That's why I stay outside the industry. I want to be as musically diverse as possible, incorporate all the influences I can, whether it's from Willie Dixon or Miles Davis or Jimi Hendrix or the Beastie Boys. Discerning audiences dig diversity, contrary to what record stores believe... But don't get me started on categorization!" It's already too late. "An editor from the magazine Living Blues told me, 'You can play the blues but you're not a bluesman.' This is a white guy in a suit with a very bad toupee. All I could say to him was, 'You're an asshole!' You know, some people you just have to punch in the face. There's nothing else to do. I'm a big fan of the punch in the face. It's a long lost art form I'm trying to revive." Evil little smile. Popa Chubby, Feb 25, 7pm, L'Elysée-Montmartre, 72, bd de Rochechouart, 18e, Metro Anvers, tel: 01.44.92.45.49, 130F.
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issue: February 99 |
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Name & Contents Copyright © 1999 parisvoice.com , advertise subscribe photo credits |
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