Impigaleaux Interview Part One (May Uniquity's featured artist, Impulss)

Slangston Hughes (SH): So, for those that may not be familiar with the Impigaleaux, tell us a little bit about yourself. Who you are, what you represent, all that good stuff...

Impulss: My name is Impulss. Born and raised in Michoud. Been MCing for a very long time and chances are your favorite MC has given me dap for how I do my thing at least once.

SH: Indeed, one of the things I've always appreciated about you is the fact that you often infuse various New Orleans references within your lyrics. In essence, what does New Orleans mean to you?

I: New Orleans is the epicenter of everything that has made America cool and interesting. It is the original U.S. bohemia. Beyond music, just the ambiance of the city is what led writers to come here and get creative. Painters, musicians. New Orleans has always been the place creative people come to get their chops up. Not for competition's sake, but rather for the sake of expression which only leads to greater creativity and soul fulfillment. So many people that live here don't understand the freedom of self that one can let loose here without judgment. A place like New York, with all respect, you can let yourself loose because no one is going to see you due to overcrowding - no one has time to look at you. But in N.O.LA. you will get seen and judgment will not come to pass. That's why this is the only place you can have a celebrated gay rapper scene with straight fans. Try doing that anywhere else. Won't happen.

SH: Very true and a helluva point. Mos Def said something to a similar extent about our city when he said, "what would America even be without Louisiana?”

I: They'd be still whistling Yankee Doodle Dandy out their asses. Think about it. Rock ‘n’ Roll. That was the soundtrack to how many revolutions of thought across the world? How many times did it morph? They weren't doing anti-Vietnam demonstrations to Bluegrass. Feminism didn't have a voice in classical music. That all came as Rock and Roll, a New Orleans musical form…took hold of the nation and everyone else took it and ran with it.

SH: In a recent interview I did with artist, Lyrikill (http://bit.ly/bRv27h), he stated similar sentiments about the South. Most importantly, New Orleans not getting credit for our various influences on present pop culture & the music heard today. What are your thoughts on this "shake and bake" tactic?

Impulss: I think we get lumped into the whole South. When I first got to Atlanta, I met Lil' Jon and he was a DJ at this club called The Phoenix. We got along with each other and he always played DJ Jimi and T Tucker in his sets. The South has a lot of hot artists right now and at the forefront of that is Atlanta, but anyone with any attention out there knows they were heavily influenced by Bounce. Jon did with Bounce what The Rolling Stones did with Rock and Roll. But we get lumped in, even though I can show a million differences between our culture and the South. I think Jay Electronica said out loud what everyone with an open eye down here said amongst ourselves about jacking our slang and the rest. I think it's all coming to light. People have been taking from New Orleans since the Louisiana Purchase. It's nothing new. But I don't think it's necessarily a terrible thing.

Understand that New Orleans culture has permeated every segment of society for over 200 years. Not only our bohemia, but our business, what comes through our port, department stores, the first movie theater, we have a lot that started here and moved on

SH: As they say, the light will find its way to the surface all in good time. I think light is slowly but surely being shown more prominently on the city we all know and love.

I: Light's been on us. Go to Japan and ask them to name 3 U.S. cities. They'll say New York, Los Angeles (maybe) and New Orleans.

SH: Let's switch gears and focus that microscope on what many are seeing as a Hip-Hop renaissance in New Orleans. Your thoughts?

I: I got a lot to say about that. I don't think Hip Hop ever left New Orleans. Think back to before there was Bounce. You had Tim Smooth, Bustdown, Gregory D...there were lyricists. Battles. Cyphers everywhere you went. People beatboxin' in The Plaza bathroom because the acoustics were crazy and all the cold rappers knew each other. People used Bounce when it came out as a springboard to get out there but as soon as they had the opportunity to rhyme they did it. At some point I think the focus got lost. But when you would talk to those cats one wouldn't necessarily consider within their pre-set tunnel vision of what Hip Hop is supposed to be, that cat would start naming names like Kool G Rap, Big Daddy Kane, etc, as their influences. Then you had a whole new generation that's around K. Gates' age that grew up on a new wave of lyricists like Biggie that had them trying to spit because a new bar was set. They got radio play down here. No one that was lyrical could get on the radio and influence minds here. Plus there was no internet for them to get new music like recently!! What happened to us is the same reason why in Japan, with all their wonderful culture, they try to do things like Americans. I also think Katrina changed our patterns. People were displaced, a lot of young dudes were 16-17 in '05 and now are 21, 22. While they were in ATL, Chicago, wherever, they got influenced. And when they got back home they started to look for the Scene. Then they saw a Soundclash flyer. Done.

SH: I guess a better word to use would be “reinvigorated” more than a “renaissance,” so to speak. For those still looking to pursue a career as Hip-Hop emcee or just starting out, what advice would you give them?

I: As a career, I would advise them to read some books on guerilla marketing. And don't ever think someone is going to put you on. You are not going to make it in the music industry without a healthy appetite for rugged individualism. And don't be scared to spend a few dollars. Never follow what is the perceived path to success. When you see one guy successful with what he does, he did it. He has all the money that style will allow being earned. Why would they listen to you when they can listen to Jay-Z? They will listen if you have something else to offer. Prosperity equals drive + talent. You can have all the talent in the world, but without the drive you will only get so far. Conversely, you can have all the drive in the universe but without talent you'll hit a ceiling. Now when you have both, you get a megastar. You have people with extra drive that makes up for a lack of some talent, and that will carry them, but eventually they will hit a wall and can't go further. Be aware of who your market is. Know your audience. Don't try to be everything to everybody. Narrow your focus. What does your customer like? What do they talk like? What do they drive? DO they drive? What is their worldview? You can do all of these things well and remain true to yourself as an artist. Then work 20 hours a day.

SH: All very pertinent parts of the game. As always, being an artist/emcee/rapper/performer is about putting out a quality product. Take us through your discography over the past couple of years and how each was crafted.

Impulss: I started releasing material in '04 with The Lagniappe Mixtape. Just stuff that fell on the cutting room floor while recording Impulss' Beats and Lagniappe Social and Pleasure Club, my first LP, which came out in '06. They were both the accumulation of material done between '02 and '06, in N.Y. and N.O. I had features like Bionik Brown, Mr Khaliyl from the Bush Babies, Akon, N.O.R.E. I was really into how De La, Black Sheep and the like would have really funny, inventive skits in their music so that influenced me. And I like the idea Kevin Smith, the director, had about having recurring characters in his films that all told a story. They all were interwoven with each other. So I had Pookie Ray, Charmaine Juicy Juice, Charles St. Charles, etc. After that I had some time for reflection and decided I would grow up a bit. A lot of subject matter changed. Category Shybe came out in '09 and was fun, but not as wild as the former records. Then The Lagniappe Pt 2 - The Pressure Principle mixtape came out 4 months later. And I put out an instrumental CD called Music Inspired By Timecode:NOLA, which is a TV show I did the music for on Cox 4 which is dedicated to the independent film industry down here. Now Marie Laveaux's Hustle is arriving and I have two more in the chamber, like this LP with Bazooka Joe, Bronx, New Orleans: Respect Where It Started...

SH: The proof is in the pudding. The listeners will definitely find a wealth of N.O. knowledge, some comedy, plenty of creativity when it comes to subject matter and variety. That answer brings up two things I wanna touch base on...the first being Pookie Ray (as one of my more popular aliases is Pookey Malibu). How did this specific character come about?

I: Pookie Ray is a real dude. The name, at least. When I was in ATL, there was this dude from New Orleans, Demaris, who did funny exaggerated NOLA accents. I started to do them with him, too. I'd pull it out of my pocket from time to time. When I was doing The Lagniappe Mixtape, I started clowning on the mic alone in the lab one day and I brought Pookie's name up and that voice together in a skit that clowned on that which people did, but was unacceptable to young Pookie. It went over really well so I made him a recurring character. Now I do Pookie on every record I do. I ran into the real Pookie in Slidell one day in McDonald's. I was like wow...he has no idea I used his name and gave it a very small cult following. I'm waiting for him to hear it one day on his own and be like bruh...

SH: Right, Pookie usually steals the show (at least the skits) on your projects. The second person I would like to touch on is someone who I'm sure will be spoken about for many, many years to come when any of us converse about New Orleans Hip-Hop: Bionik Brown.What has his friendship and presence in the underground scene of the Mardi Gras Mecca meant to you personally?

I: Nate was/is an exceptional lyricist and person. His charm and aura filled any spot he was at. When you went to PoZazz or any other place you, for some reason, always knew if Nate was there or not. And he was an in-and-out kind of guy. He'd get on stage, do his thing and you'd turn around and he'd be gone like freakin' Batman. His friendship personally meant a lot because a lot of people weren't his friend. He'd do music with people, go to poetry spots, roommate, whatever and still keep a distance. So when he expressed what we were really friends I think I allowed myself to be influenced by how he did his thing more and there was mutual respect. He always came to me for beats and would lift my confidence as an artist. Most people don't know I made at least half of the beats for Platinum Thoughts Aluminum Budget. I knew him for a long time. Even my mother liked him, and my mom doesn't like hardly any of my friends. So that says a lot. Bionik Brown laid a lot of the foundation of what Hip Hop scene all of you enjoy today. I'm waiting for a wall-sized mural to be erected in his honor. Or just take that statue down in Lee Circle and throw up a Bionik Brown Statue. Through everything he did with music or otherwise, Nate wanted to help you be the better you that you could become. He wanted to better the city by being a better example. He wanted us all to be better examples for society and he'd do what he could to help you with that. His overall movement was for the advancement of society.

Look for part two of my interview with Impulss, where we touch further upon his music, family and more later on this week. Impulss will be performing along with Black Sheep's residential dj, Bazooka Joe and live band, Fo On The Flo this Saturday at the May edition of Uniquity at Dragon’s Den. 10pm. $5.

Hip-Hop Down In New Orleans...

Another not to be missed event by Traffic Boutique & the Supreme Street Team with performances by rising indie Hip-Hoppers, Mickey Factz and Chip Tha Ripper as well as awesome local talent, Aquaforce, A. Levy, the I.C.U. and TheSeKondElement(T2E). T2E will also be releasing her LP, The Kommencement today! Pre-sale tix are available and going fast. Contact @OnPoint_El or @KAMMSTheACE to get yours today.

That same night pre-sale tix will be available for the following...

Uniquity returns for its anniversary show with a stacked line-up of New Orleans Hip-Hop performers. God's Gift, b.k.a. Lil' Dee & the Parish President, MC Jay join featured artist and respected New Orleans Hip-Hop cultivator, Impulss to complete this diverse bunch of emcees who will rock live band, Fo On The Flo. In addition, DJ Bazooka Joe, best known as the dj for the legendary duo, Black Sheep will accompany Impulss during his set fusing his the musicality of Fo On The Flo with the scratching of a tenured turntablist.

A Slangston Hughes Filled Weekend

This upcoming weekend is a busy one for THE Connoisseur of Fine Rhyme. For all those in or around Mississippi, catch me and members of the Tygah Woods collective at the Back 2 Basics monthly event.

It's been a minute since I've rocked appropriately at Soundclash. Add in performances from Brasco, A. Levy and Codac with some of the city's best producers, this looks to be another great moment in Soundclash history.


Last but certainly not least, finish up your weekend with a funk filled Sabbath at the Hi-Ho Lounge with performances by Gov't Majik, Flow Tribe and my band, Fo On The Flo w/special guest dj's throughout the afternoon as we celebrate the bdays of Prospek and Cali Obzerver.

Glimpses of Uniquity: 3-27-10

It was quite the night this past Saturday as the lights went out on Frenchman for almost an hour & then returned with performances by the Twen Bumbs, S-PYnage & featured artist, Lyrikill at Uniquity.

Blackout cypher by J-Dubble & Soul Nick et al

Hip-Hop Soul revivalist, Suave & Darkplay Graphix' own Krystle Ophelia

Drummer & leader of Fo On The Flo, Soul Nick

Great shirt courtesy of Grant of SC Apparel (www.scapparel.net)

Shoutout to Kory (@Twaites) of TheIMMEG.com for making my arm look good. Lol.

Mr. Straight To The Point, S-PYnage

The flyest Caucasian I know, lead guitarist of Fo On The Flo, Mark Weliky

Twen Bumbs lft: Juskwam & rt: Dubla

Dubla of the Twen Bumbs playing hypeman at Uniquity

Juskwam rocking the mic backed by Fo On The Flo

Featured artist for March's Uniquity, Lyrikill

Suave joining Lyrikill for a jawn off of the new project, More Heart, More Sole

The show intro seen round the world, from one pair of Jordans to the next.
New Orleans' No. 1 kick- copper

*Photos courtesy of TheIMMEG.com

Interview with March Uniquity's featured artist, Lyrikill

Slangston Hughes: so... without further adieu, introduce yourself to the people who MIGHT not know who you are…

Lyrikll: I am Lyrikill, which in my native language means "he who purchases many shoes"…emcee, promoter, hip-hop culturalist dedicated to reforming southern rap music

SH: Without question. In terms of being a culturalist dedicated to reforming southern rap, I’ve been doing a little research and found a quote from you that says: "the New South Movement is about putting our art and culture back in the hands of the people who care about it and aren't just out to make a dollar."

L: Indeed.

SH: Care to elaborate or take that further when it comes to your place in the New South movement?

L: It just seems that in the 10 years or so, the southern region has made many advancements in the music industry. However, many critics, myself included, would say that the South's business acumen has not resulted in the body of musical work that the region should have produced. Many people got lost in the shuffle of making a living from music and forgot the principles upon which the culture was original built. I am in no way disowning the business achievements, but I am spearheading a local movement to make and promote roots hip-hop culture. That movement starts in New Orleans and expands globally.

SH: Word, that's something that any true fan of Hip-Hop––whether it be a listener, fellow emcee or culturalist––can appreciate (including myself). In addition, I'm assuming when you say our business acumen, you might be inferring various dance moves, flows/rap deliveries, etc. being absorbed by non-Southerners & then taken on as their own, right?

L: Absolutely. The southern region is the birthplace of culture. It’s no secret that New Orleans is so thick in culture because with it being a major port during the transatlantic slave trade, it was one of the first places in America that Africans gathered to sing and dance. All of these qualities still exist in different ways today. My mission is to let people know and understand the authentic side of southern life and how hip-hop is interrelated. I'm definitely not disrespecting either coast or any other region, I just want southern people to be known more for hospitality, cooking, and celebrating than cars, rims, and 808 drums.

SH: True indeed, I think that's something we ALL can appreciate. With that said, give us a little history on your beginnings within the rap game...

L: I began rapping when I was in 6th grade, that was '91...that was the first time I ever wrote a rap. I would record on this tape player over these horrible keyboard beats but I always maintained a message. I always used rap as a means to express the things that I wanted to say but would be super boring if I just talked about them. When I came to Dillard University in '98, I had been doing talent shows, ciphers, battles and the like in high school. I was always true school, conscious, and heavy into the culture during a late 90s era of Death Row and Master P. I would say this made most other rappers feel like opposition. But when I moved to New Orleans to attend Dillard in '98, I linked up with some other talented emcees from the Southern region and formed the group Euphonetiks. We did a trilogy of campus-based mixtapes, getting other emcees around the campus. We took the mixtapes wherever we went and battled and ciphered with anyone who would rhyme with us, and that’s how I met Truth Universal at a cafe on Xavier's campus and he gave us a shot to start performing outside of campus at local venues. From there we did an album called Sick? Muse. Entertainment and performing and selling albums. We were all solo artists, so soon after releasing the group album, I started working on solo material and just took the natural

progression of being a serious emcee.

SH: No doubt. Anyone should be able to see the time & energy invested. You bring up Truth Universal, who in my opinion is "the godfather of New Orleans' Hip-Hop" presently. Tell us how the joint collab of Soundclash came about, what it means to you personally & what's on the rise for the crew this year?

L: Originally, my music company Eupham consisted of 3 producers and 3 emcees, so I was trying to think of an event or situation to be able to promote the artists I was working with. I went out to DC to record 10 songs with my producer Zach, who was in Euphonetiks with me. Zach is from DC and we met while we were at Dillard. SO, while I was there, my manager, who lives there too, tells me to check out this Redbull Big Tune beat battle. I go there with my man Words Axis and my producer Zach. We have a great time and I am in awe at this event. I ciphered with some cats in the line, met Oddisee (a very talented producer/emcee from Maryland) and Nick da 1da (who did a couple tracks on Truth's Self Determination album). I just kept imaging how great an event like this could be in New Orleans. It combined the production, with emcee performances during the intermission and served as a great venue for networking between people in the industry. I came back to NO and wrote a proposal and shopped it to a few venues that all either refused to meet with me or threw out ridiculous prices. So I hit up Truth, like "what do I have to do to get a venue?" Truth told me that his brother, DJ Def D, had been to some events in Atlanta (where he moved after Hurricane Katrina) and had a similar idea. I finally caught up with both of them at a Grassroots! event and we put the wheels in motion, and we haven’t stopped. This year, we are taking the event to the next level by bringing in record label executives and influential producers to continue to build a growing scene in New Orleans. In February, we had legendary New Orleans producers Ice Mike and Crack Tracks in March we will have world renowned producer/DJ Pete Rock and executives from the Blacksmith label (owned by Talib Kweli) [NOTE: PETE ROCK RESCHEDULED TO LATER IN THE YEAR]. The entire focus is to build an internationally recognized independent hip-hop music movement in New Orleans.

SH: Understood, Being a cultivator, firm believer in the talent of New Orleans & previous Soundclash performer on several occasions, I definitely support the movement.

L: I recognize that and appreciate it greatly. It would not have grown without the support from people such as yourself.

SH: Chu dat. Support next to notoriety & profit are more than likely the holy trinity when it comes to having a Hip-Hop career. What does support mean to you and how do you think aspiring emcees get more of it?

L: Support can mean a variety of things and can vary in its levels. There are people that support by posting an event online, promoting it via blog and/or retweeting. I think the most important form of support is the kind that forces one to make a sacrifice in time and/or money. As an artist and promoter, I take risks weekly in organizing events to promote the scene, culture, and local artists. The only way to continuously present these events is by the target audience attending and buying tickets/merchandise. So, to me, if you don’t attend, buy a ticket, buy a drink, buy a shirt, buy a cd, etc., you are saying that you don’t care if this type of event is presented in future. Most of the people in our area of business are not financially capable of consistently losing money. As far as artists garnering that support, they have to be in tune with their target audience and present the type of situations that their target audience sees value in. I think artists have to remain consistent in their work and take time perfecting their craft. The have to invest in themselves, take risks, and take themselves seriously as business people and public personalities. As an artist, you should always plan to be where you want to be, and work towards your goals as if you have already achieved it. When you take yourself seriously, you know what type of level of support you will need and how much of that support will keep you in business. From there you can develop goals and objectives to get you on the path to being successful according to your standards.

SH: Rapbiz 101 for the up & comers...

L: I didn't mean to be so thorough on the topic, but it is one that it very dear to me.

SH: No prob on that. It should be of great assistance to many rappers who want to make this a career. In addition to that, I often speak with DJs, artists and promoters on the scene who would agree that there is a stigma of sorts attached to Hip-Hop in New Orleans where many venues & venue owners see Hip-Hop and instantaneously think “rap,” with the bad connotations associated. How do you think we go about changing that ignorant perception?

L: I don’t really separate rap from hip-hop as some people do. Hip-hop is a culture and rap is just an element of that culture. KRS-One said it best: "rap is something you do. Hip-Hop is something you live." There are so many subgenres of rap music, I can't really keep up with them...so I know a club owner/promoter can't. I just try to focus on myself and other likeminded artists that are serious about their craft and pay respect to the culture. I think it’s more about all of these types of artists combining their reach and resources to be able to compete with the major label artists--I see the divide being more indie vs. major label. I think out main mission should be what WE bring to the table...putting us in a TAKE mode instead of an ASK mode. I don’t care too much about bargaining with a venue...I'd rather tell them, I have 5 groups that are serious about promoting and performing, we will bring out 300-500 people and there will be no violence...these are all measurable and not opinionated statements. From there, we build our names as not only being talented and creative artists, but also business minded and consistent. I look at it as changing the negative stigma starting with myself and those around me.

SH: Gotcha. Let's talk music for a sec. Who or what would you consider your greatest influences for not only picking up a mic but also stepping into the booth?

L: I was very heavily influenced by Wu-Tang, Ice Cube, Nas, early music like Too $hort, NWA, even local cats like Bust Down & Juvenile. I've been into hip-hop music and shoes for as long as I can remember, but my 9th grade English teacher Mrs. Howard developed me into a public speaker. I don’t think I would be able to do what I do without that element.

SH: That's wsup! Shout out to Mrs. Howard & all the cats on that list. Your ability to craft material & projects swiftly is something to be admired. Changing directions…what's the process you undergo in attacking a beat?

L: I write to metronome mostly, or I might hear a beat on a CD, like I heard the first beat on Freeway and Jake One's album yesterday and song just came out of me. From there, I will go into the studio and either go through beats to find one that matches or help create one that works. I do write to beats in the studio, but mostly, I come in with a notebook full of writtens and flow over beats to find a match...Prospek makes beats pretty quickly, so there are times when we just create from scratch.

SH: Speaking of Prospek, he's definitely one of the hottest producers in the city at the moment. How did one of 09's most slept on releases (Heart & Sole) come into fruition?

L: I was invited to his studio by DJ Skracthmo after a show I did with Prospek's crew GPC and Soapbox, who I've known since like '99. A mutual friend who was working with Eupham with me had been doing music with him and we went over to the spot. He put on a track and I wrote two verses on the spot, we dropped Bred Winner, he gave me some beats to take home and I came back and laid those and we just started hooking up every couple weeks and laying out songs. It was just a mutual agreement that we came up with like "this should be an album." I had recorded many of the tracks earlier over another producers beats that was leaving Eupham, so we just relaid them over Pro's beats and started gigging and pushing the album release. Our chemistry came easy because we are both no frills, just good beats and rhymes. We both work fast and like to record and move on to the next one, so we would drop 3 or 4 songs in the span of a couple hours easily.

SH: Can't knock the work ethic there. So Heart & Sole dropped last fall followed up by Dope Music with DJ Mike Swift at the top of the year. What's next for Lyrikill?

L: More Heart More Sole is the follow-up, produced totally by Prospek again. We've done maybe 30 tracks since H&S [Heart and Sole] dropped. Me and my man DaiN are doing a short album called MLKTKRS, me and DaiN on vocals, DaiN on production, and me and DJ Jay Skillz have a mixtape entitled A Time to Kill. First single from MHMS is “Treat Her Like A Lady” featuring Suave. We're going to shoot a video for that one in the next couple weeks, it going to be fun.

SH: To say things will continue to push & progress for Lyrikill would be an understatement. Since we're talking kicks, what would be your top 5 purchases & how does kick copping influence what you write about & your everyday life?

L: Top 5 purchases this year...2000 Infrared Jordan 6's...Laney Jordan 5s...Copper Foamposites...25th Anniversary Jordan 1s...Bo Jackson Trainer 91s Retro (OG Colorway). That’s 5 I already have. 5 that I will get: Eggplant Foams, White Cement Jordan 3s, Cool Grey Jordan 11s, OG Jordan 2s, and a random pair of dope SB highs that I haven’t seen yet. The shoe thing is just me, so many people are doing it for the fad, and that’s cool but I 'm always searching for that "first day of school wearing new kicks feeling" and I get it whenever I rock a fresh pair, so that’s just my life that comes out in my music. I had Converse Weapons in first grade. Who was thinking about shoes in '86 at 5 years old? Me, thats who. OG Black Jordan IV's in 3rd grade.

SH: Ha. I can still remember coming to class in 7th Grade with those navy & white Grant Hill Fila's w/the strap. Good times...

L: The homie Skipp Coon said this rap game is just high school, we get fresh & spit raps to impress our friends.

SH: It's definitely a part of the equation, bigger to some than others, but I can relate to that statement. On to upcoming appearances…being Uniquity's next featured artist, how do you feel your music and rap prowess relates to a live band performance?

L: It’s a chance to vibe with different energy during a performance...my DJ, DJ Tony Skratchere, makes me take my performance to different level with his turntablism, so it'll be a chance to vibe with multiple people and present that energy to the crowd...it’s truly great for all parties involved and I have really enjoyed the twist that the band has provided for so many talented artists. I am really looking forward to it.

SH: Fo sho though, I'm excited as well to observe what Fo On The Flo [band] does with Prospek's production & your rhymes. In closing, how can the peeps stay in contact with Lyrikill?

L: Find me at www.thesoundclash.com, on fb, twitter, myspace, all under Lyrikill, and you can definitely find me in New Orleans at all the hip-hop events...I'm at Grassroots at Dragon’s Den every first Saturday of the month, Howlin Wolf, Soundclash every second Saturday of the month, our shows at SXSW, and of course, the upcoming Uniquity show.

Catch Lyrikill performing at this month’s Uniquity showcase:

Saturday, March 27th, 10 p.m., $5

Vaso, (former Hookah Cafe location) 500 Frenchmen Street

www.tinyurl.com/UNIQUITY32710 (Facebook RSVP)