KENYATA SULLIVAN
inteview by Ian C Stewart
AUTO4 spring 1997

"Opulence! was formed at the beginning of 1996 in order to put out C Ds and records and other stuff. We wanted to put out some stuff, and figgered we might as well have a name to stick on all of it. We have two kinds of stuff that we release: local bands, because there really isn't any other outlet for it, and there's a lot of cool shit going on-- secondly we also release some of the best stuff that I've bumped into through the mail from trades, chain letters, WE Fest, wherever. We just want to put out stuff that might not normally get pressed, or might not get pressed without the artists involved having to jump through fucked up hoops. It's not genre specific, it's just stuff we want people to be able to hear. So far we've put out the last Pandora's Lunchbox CD, a Breed 13 7", a CD by Emily's Porch called "Pioneering the Dead Scene," and we put out Trespassers W's latest disc along with ND in Austin and AMF in Aachen, Germany. And last week
we sent Tricky The Cosmonaut's new disc off to press. Coming up we have confirmed
releases from Tex Svengali, the Inkpot Monkey, Velour #9 and a split 10" (with Railroad Earth, the Inkpot Monkey and Breed 13). Brickhat's record was supposed to have been out by now, but when we gave 'em money for mastering, I think they spent it on rent, or beer, or something. It's been recorded and mixed, though, so it WILL come out! Also even though Railroad Earth just broke up, we're putting out their disc once it's been mixed. Part of the problem with fuckin' labels is that they think of records as "product"... you wouldn't believe how many people are amazed that we still wanna put out this disc, even though they won't be able to tour, promote, all that other shit. Well, I was amazed, anyway. I dunno, I just never thought of records that way. You put out a record because you like it, ya know? That just seems like reason enough for me, guess I'm a dumbass!

"There are a number of things I'd love to release, but I don't even really talk about them because we don't have the money. I'm selling off shit like mad as it is, and I don't want to make any promises I can't keep. BUT... if I had a wishlist of stuff I could release over the next year, it would certainly include "The Diving Board," an audio play that Jim Santo turned me onto. I'd like to do retrospectives of Eyelight; and Wheelchair Of Old Men stuff; I'd like to do a CD of the best of FED. There's just so much shit out there. And we're putting out a dirty Christmas record next year. Just for kicks! And we might be co-releasing the new Jenifer Convertible full-length with Dive Records in New York. It's such a great fuckin' record, we hope we can help them with it. So far... we're pleased as punch. We just wanna do it as long as we can, and keep our artists happy. Since most of 'em just wanna be proud of the final product, and drink beer (just like us), well, as long as the money doesn't kill us, we'll be okay."

WE Fest is a weeklong gathering of unsigned bands, zines and microbrews in Wilmington, NC. So what made Kenyata decide to do it?

"We'd all been to 'gatherings' that were focused on artistic stuff, but they all seemed either business oriented, or randomly social (like a festival where you pay a shitload of money, buy your t-shirt, sit on the grass with 100,000 other people and wait for your favorite band to play 'the hit' so you can shake your smuggled beer in the air and wiggle like a gypsy). I suppose that's all well and good, but we had a different idea about what might be fun. And also useful. While things like Woodstock are a hoot for a lot of people I guess, we wanted more to be a reaction to industry conferences-- which are schmoozing, whoring bullshit conartist gatherings. Bands are treated like shit, what you care about means nothing--- and we wanted to give people who actually do give a shit an excuse to get together and share what they do with other people who give a shit too. That's why it's so cheap for regular people ($15 for the week) and so expensive for A&R ($15,000). It's not because we're necessarily anti-corporate, it's just that this thing is about community instead of commodity. We're not anti anything, we just don't want the vultures fucking up our gathering, y'know? Fuck 'em. to be honest, I just don't personally like the people who've approached me from the mainstream music establishment. Soulless bastards, one and all, and there is no place for them here.

"Jehn Cerron (Eyelight) was the spark. I was talking to her on the phone and she said 'When are we gonna get together?' and she didn't mean me and her-- she meant all of us, all of us who have been writing and trading for years. And that was really the catalyst that started it all in motion. God bless her until the day I die."

Bands, artists, zine people all descended on Wilmington in droves. Different bands playing every hour in various venues. What was it like being at the epicenter of all the madness?

"It sucked! This year I'm going to relax and just enjoy it all. Last year I was a fuckin' stressed out lunatic, trying to make sure everything went okay. Of course, the event wasn't as good as I had hoped-- I always hope for way too much-- but I guess it really did end up being something special. The best part about it was that everyone involved-- the bands, the zines, the crowd-- seemed to genuinely enjoy themselves. And an amazing number of folks who attended are still in touch with each other. That alone makes all the difference for me. For We Fest 97, we're trying to rent out a deconsecrated church for the week, so all the travellers will have a place to crash-- hope you can come and see us, we're friendly as hell, and would love to have ya."

So, what the hell happened to Pandora's Lunchbox? Seemed like right when the CD came out, the band fizzled...
"well, the rhythm guitarist quit, so we (me, Pete and Jack) decided to change our name to The Inkpot Monkey and write a bunch of new songs, just to keep it fresh for us. We're a three-piece, we've recently gotten back to a regular rehearsal schedule (5 or 6 times a week), and we're mixing our first record now. I hope it doesn't completely eat shit-- I'm enjoying the hell out of it! We hope to tour extensively next year-- if anyone out there might be able to hook us up with a show, hell, we'll pay for beer and would truly appreciate it."

Hey, you guys could open for KISS!
"well, maybe. If they donated a million dollars towards a shrine to Ashley Parker Owens, we might consider it."

And how did you get sucked into all this underground tape trading nonsense?
"I first got into trading via Jim Santo's 'Demorandum' column in AP... John from Broca's Area was the first guy I met, and he's a good and treasured friend to this day. He introduced me to Oliver Squash, who introduced me to Eerie Materials, who changed my life and broadened my horizons forever. And that was the beginning of the obsession. The whole world bloomed. It was fucking beautiful."

How has Cassette Culture as a whole changed since you got into it?
"I dunno how it's changed... there's a new guard now; but one of the things I love about the cassette culture is the way each individual is allowed to seek out and cultivate their own scene, one that fits what they're individually looking for. For me, my scene is as exciting and vibrant as ever, because I've never stopped actively seeking out new and hidden things. The more you initially reach out, the more you find. To be honest, I think a lot of the grousing that goes on in the cassette culture is a direct result of people not searching anymore, and instead being frustrated with the fact that they themselves are not being sought out. This culture, like life, is a constant process. If you do not search, you stagnate and die. There are wonderful things out there, but you will always have to go and find them. You can never bitch because they haven't just accidentally found you. And you can never truly be alive if you don't have the stamina to explore and be openminded enough to be amazed by the alien things you find. And sometimes what's alien to you is normal to everyone else--never be afraid to fuckin' enjoy what you naturally enjoy! Okay, I'm gettin' nuts here, but I think things are cool. You just have to get out there and look, like you did at the beginning, and then everything will be cool."

Adjusting my Rolling Stone cap, I ask Kenyata if being in contact with people from all over the world has made him more patriotic or less.
"Ya know, interacting with people from all over the world hasn't made much of an impact on my patriotism. It's had a huge impact on my life, but that impact has come from individuals, Lord Litter, Usui Aioi, Dada Kan... while I have an active interest in politics, I don't judge any system by the opinion of a single individual. And, believe it or not, I am a patriot. I think people complain too much. I think people like to complain. But as for me, I'm glad I live here, even if I disagree with a lot of what the law here says is right and wrong. Instead of complaining, I'd rather DO something. I mean, think of it in terms of the cassette culture--- get off the fuckin' sofa and quit whining about how Mtv sucks, and make a tape, y'know? Complaining is boring. "Make do with what you have, use what you can get, pay no mind to us, we're just a minor threat" --ya know? (that's from memory, I might've missed a word or two.)

So, how political does Kenyata consider himself? Anyone who can pull of as many different things as he does must have their own way about how things should be done.
"Shit, there's a lot of ways to be political. I'm gonna assume you're not talking about electoral politics, or music biz politics and talk about personal politics... The relationship between me and the people I work with. It's weird... because it's a thin line to walk. I want everyone I do stuff with to express themselves, but if it gets too democratic, nothing gets done, so it's an ever-changing situation. I have a basic strategy-- let everyone do what they want until it becomes obvious that if things continue the way they are, nothing will ever be finished. Then set parameters, focus on a finished product, and work your ass off to get it done, whether you're talking about a song, a record, a zine, a festival, whatever. Don't dictate; guide. I don't know everything anymore than anyone else does, but a little organization never killed anybody! And if there are holes to be filled when crunch time comes, fill them yourself and don't waste time and friendship bugging other people to do it. Shit, just be yourself, do what you love, and work your ass off to make the end result resemble your original dream--- without forgetting that everyone else has an original dream too. It ain't easy but it's worth it."

What's the most profound thing your parents told you?
"Two things come to mind. I was a real shit in high school-- I gave my parents hell. My father didn't even speak to me the last week I was at home, he'd just walk past me looking straight ahead. But on the morning I left for good at the age of 17, there was a note on the fridge. It said "Always be sure that you make something out of your life you can be proud of. Love, Dad. PS--take out the garbage." Good damn advice. And the second thing is something my great grandmother used to say to her children after their prayers: "Tell the truth, pay your debts and learn to say 'no'." I don't care who you are or what you do, that'll work for you every time, guaranteed. In my world, you're not strong because of what you have, you're strong because of what you give. And that's the way it should be, I think. (Because it's my world! Ha!)"

In 2997 we'll all be dead, but in 1997 expect Kenyata to "keep doin' what I love, doin' it as well as I can, and workin' my ass off so I can keep doin' what I love in 1998. And that's it."

For information on WE Fest, Opulence! releases, or whatever else, write

Kenyata Sullivan
PO Box 2071
Wilmington NC 28402-2071 usa