The RED Interview

America’s next public enemy number one is an unassuming white boy from Kansas. Theodore Beck is quickly becoming a four- letter word. His debut album, AIDS Can’t Stop Me has gained comparisons to 2 Live Crew’s As Nasty As They Wanna Be for its propensity to offend. However, Beck, a.k.a. Black Nasty, is insulted at being lumped with his crude forefathers. The surprisingly eloquent rapper instead cites N.W.A as the group that inspired him to pursue his current career.

“I love the music of N.W.A, Geto Boys and Ice T. more than anything—more than food or pussy,” Beck says. “To me, their records in the late ’80s and early ’90s were everything that music should be: funny, nasty, clever, insightful and full of vivid storytelling.”

Beck’s artistic sensibility is, on paper, that of any other serious singer/songwriter. However, how many credible musicians compose songs with such titles as “Pussy Meat,” “The Tampon Vampire” and “Keep Suckin’ My Balls.” Each track reeks of hyperbolic misogyny, thus begging the question as to whether or not they were created as parody. Beck claims that his work is neither serious nor a joke, but rather simply based on the timeless themes of sex and murder, which combined form a “bottomless well of scenarios and positions.” His casual take on the somewhat revolting content extends into his attempt to proposition Kill Rock Stars for musical representation. Beck is actually bewildered by the intensely feminist record label’s refusal to acknowledge his submission. “I sent in a demo but I never heard back from them,” Beck says. He is earnest and seemingly genuine, and when he tells you that another one of his idols is Lyle Lovett, it’s hard to believe that this is the same person who pens lyrics about bestiality and the comedic quality of sexually transmitted disease.

A love for folk and country crooning could explain how the curiously multi-faceted Beck hooked up with a few Salt Lake City rockers. By entering in two key words into a simple Google search, he unwittingly stumbled upon the Rodeo Boys. Ensuing online discussions led to steadfast friendship based on a mutual respect for each other’s work.

Rodeo Boys’ drummer Clayton Scrivner has clearly developed a fondness for the “skinny, indie rock kid” whose vulgarity only increases his appeal. Though Scrivner admits that the material “is pretty fucked up,” he and his fellow bandmates have still learned all of Beck’s songs and agreed to back him when he comes to town. The performance, which takes place at the Urban Lounge on July 18, will be staged in the format recently conveyed by The Flaming Lips and another famous Beck in which the Oklahoma-based group contributed to live renditions of “Lost Cause,” and “Devil’s Haircut,” among others. Scrivner claims that the group will also dress in costumes. “It will be like the Flaming Lips,” he says, “only fucking, disgustingly raunchy.”

During the Black Nasty set, Beck will debut songs from his upcoming release Liberty, which also features sister Pink Nasty. “I just produced her debut album, Mule School,” Beck says. “It’s a really sweet record, like ‘awwww’ sweet, quirky country-pop-gag stuff. A perfect companion piece for Black Nasty.” For his own album, Beck aims to maintain his signature sound while raising wider issues including the inherent cruelty displayed by kids in middle school. “I’m gonna do the whole dark-sophomoric-slump thing that will disappoint at first but ultimately be more rewarding down the road,” he says. “I may do that on purpose or on accident. I haven’t decided.”

The night is part of an ongoing preparation for the Rodeo Boys’ long-long-long-awaited full-length recording. “We could have it done in three days,” says Scrivner. After a long pause, he adds, “But it’s hard when you’re not getting paid.” Day jobs and other capitalistic commitments have prevented the musicians from devoting themselves to their art. Until the still-unnamed album comes out (suggested and subsequently rejected titles include Rings of Uranus and Surface to Air, the latter of which lost out due to its pretentious nature), the Rodeo Boys have pledged to make every show a special occasion. “It’s about giving yourself and fans incentive,” Scrivner says. “We need to give them a reason to see us three to four times a month.” Though the band has accrued a strong cult following, its popularity has not translated into mainstream success. Unlike other local talents, the Rodeo Boys don’t receive offers for weekly gigs or stints at the Gallivan Center. “I feel slightly outcasted,” Scrivner says. “I don’t know, maybe I’m just paranoid. Maybe we’re just considered a novelty.”

However, just as Theodore Beck manages to prove naysayers wrong with his eclectic taste and obvious commitment to quality, the Rodeo Boys are more than just a gimmick. The good-time rockers are becoming increasingly serious about their music, an attitude that translates into decent shows. In fact, seeing the group is now actually worth dealing with newfangled club entrance exams. “We are upping the ante day by day,” Scrivner says.

If all else fails, the band will always have a fan in Beck. When asked to project his plans into the future, the newest threat to national decency suggests, “a Rodeo Boys/Black Nasty 5-year reunion tour.” Censors have been warned.
jamie@red-mag.com