Italian folklore once told that the only cure for a tarantula spider bite was to dance the most frenzied, inspired dance of your life or you would surely die a result of its hallucinogenic venom. Those bitten danced as if possessed, losing themselves in the feverish mandolin music played by villagers, and so the ritualistic Tarantella dance came to be. Another story suggests the dance began as therapy for disaffected female sexuality. Women who were perpetually numb from the complacencies of day-to-day life would fall into a bizarre trance, for which sexualized, hysterical dancing was the only remedy. Once she found the right moves, she was saved.
These stories are, for most, just stories. But for Gogol Bordello, theres more to be found in the psychology of dance mania than just another tall tale. The bands current release SUPER TARANTA! (SideOneDummy Records) bolsters its status as one of the most vibrant and fearless acts on the scene. Known for whirlwind live performances, Gogol Bordello is all consuming with its rabble-rousing, gypsy punk aesthetic and sound. With SUPER TARANTA! Gogol Bordello is going to conquer the world, says frontman Eugene Hutz, Everything on the album is taken to the next level. Its more direct, more abstract, more focused, with more dark humor. The dub parts are deeper; the fast parts are faster, its pure orgasmo hysteria.
SuicideGirls caught up with the Romani raconteur before a recent San Francisco sound check to chat about chaos, red wine and the super theories about super everything
Erin Broadley: I bet theres no such thing as a relaxed sound check for Gogol. Is it hard to get everybody organized with nine people in the band?
Eugene Hutz: Actually, you would be surprised with how professional the band is.
EB: You know, one thing that struck me about seeing your band live is that Gogol Bordello is truly the embodiment of chaos theory. Like, theres a harmony and order to the erraticism.
EH: It has to be. Plus, we had quite a bit of experience before we became like that. I mean, weve been through whole stages of complete chaos where nobody would ever turn up. There were just too many people to get on the same page. We would be very successful to get them in the same book. Now, we still cant believe it but we actually go through these professional operations quite impressively for everyone around. [Laughs]
EB: Right, its like a self-sustaining life force, theres no stopping it once you hit the stage.
EH: Yeah, it definitely comes from being such a big group.
EB: In an interview you did shortly after Everything is Illuminated, you said about the film, Humor is an engine of survival. I agree and would assume that humor plays a big role in your music performance and songwriting.
EH: Yeah, I actually quoted Charlie Chaplin on that.
EB: Oh, really?
EH: Yeah, he was my big guru.
EB: Thats awesome.
EH: Yeah, he was the only American artist that was constantly shown on Soviet television. He was a Commie sympathizer so they couldnt stop playing him. I mean, of course hes fantastic, so.
EB: He was amazing in his simplicity, wasnt he? So many actors today are just big productions, but Charlie Chaplin was so powerful considering how simple his method was.
EH: Yeah, but the less production the wilder the actual creativity there is. It makes up for all the rest. Similarly, the more fucking gear and the more production the band has, the more they suck, usually.
EB: When it comes to humor, can you discuss further the role that humor has played in your life? Like, especially when you were younger moving from refugee camp to refugee camp after the Chernobyl disaster?
EH: Its not only [me]; our whole culture is built on that.
EB: On humor?
EH: Yeah, because Eastern Europe is so rowdy and fun loving and celebrative but if you go there you will not see any of that right away. I mean, its the peoples psychology that learned to come over the top of that gruesomeness -- the only way to elevate, to rise above it, is through humor. I have friends who survive alone on their linguistic skills and all the sparkling energy of inverting information in numerous humorous ways.
EB: I read that you and your friends used to pass the time by making jokes with words and phrases.
EH: Yeah, because there is simply not a whole lot else to do in Eastern Europe.
EB: Well, theres making music.
EH: Yes, that but as far as embodying any broad dreams and stuff like that, youre pretty much fucked. Chernobyl actually brought it out in people to a great amount in the middle of the panic and the major scare of everything, because you know, being told that youre in the extreme danger zone without being able to smell it or taste it
EB: I imagine its complete hysteria.
EH: Its quite frightening. But every Ukrainian citizen already knew that red wine is actually a product that helps to escort Strontium out of the body. Which is one of the more dangerous radioactive elements. Before you knew it everybody was talking about, Yeah, were going to be chasing a lot of Strontium out of the body. Everybody lets chase some Strontium out!
EB: [Laughs] Were doing it for our health!
EH: The whole fucking key was chasing the Strontium out, you know, with double enthusiasm. It was like all this dangerous information was quickly inverted into anecdotes.
EB: Thats a pretty intense situation to grow up in.
EH: I know. We were like, What the fuck is this? I mean, is this for real? You know what I mean? When September 11th [happened], I watched the buildings fall down from my roof. And for people there, the way they were feeling it was exactly how we felt when Chernobyl happened. They were just completely stupefied and shocked by something like that. How can this possibly happen? That was exactly the same as how we felt.
EB: Right. I was watching the trailer for The Pied Piper of Hutzovina documentary that you did. I was really struck by the point that you bring up about the talent that goes to waste of with these people that will never have the access to instruments or funds to pursue playing music.
EH: Yeah, its going to kill you to see that.
EB: Its just really heartbreaking.
EH: Its going to kill you if you see them in the real setting. I go there all the time and I bring more and more of my own field recordings and video recordings and when I show it to people here very often they get tears in their eyes because they cant believe how far from being heard all that talent is.
EB: Is there any progress at all when it comes to opening up avenues for art and music over there?
EH: There are numerous projects that are happening for that to come together, you know, and there always were. But were still pretty far from having a solid Romani name established as a positive force. People are still living in the fucking cave-age as far as knowledge of what Romani culture is. In the meantime, the government makes sure that newspapers breed hate toward gypsies because their advantage is to have a scapegoat to blame in the country. That is why when we went and played Live Earth with Madonna, it was just, like, for two weeks with all the gypsies from Russian Ukraine, Canada, the States, France, just freaking out that it came through so positively. It was such a positive setting. Plus they were just like, Man, I cant believe you got Madonna to sing in Romani. What the fuck? Only you could do it.
EB: Well, if anybody can do it, its you. Come on, thats no small feat. Im sure shes fascinating. Shes quite a character herself.
EH: Oh, its been truly fun to work with her. I was ready to work with her straight off the bat. Her personal style of working with people is just actually so spontaneous. Shes great.
EB: Well, in regards to popular culture, your music is kind of deviant. I mean, if culture dictates what is and what isnt okay and decides who is and who isnt a great artist, then your music and everything it represents strikes me as a slap in the face to that very mode of thought.
EH: Exactly. In Russian there is an expression, a common expression, It doesnt fit into any one gate. Its like any fucking gate it goes in, it warps the mother-fucking gate.
EB: [Laughs]
EH: You know, its too fucking gypsy for everybody else.
EB: Its either too gypsy or not gypsy enough.
EH: Its not gypsy enough for the purists. Fuck all of that. Im making music I like. If you dont like it, switch the mother-fucking channel. Whats the problem? Im pretty happy with all Ive accomplished, especially that all the real Romani activists got on our side before we even got any recognition. The whole idea of gypsy punk actually came not from me. It was actually two gypsy girls who came to see our show who were like, Well, what the fuck, since this sounds like this, you might as well call it like that because if you really think about it we dont really have anything that calls our name in a worldwide kind of level, except for Gypsy Kings. I was like, I think youre right.
EB: In a clip from Pied Piper one guy is a purist and takes your CD out from the CD player.
EH: Yeah, actually at this point that guy is a friend of mine. But thats one of the reactions that I experienced before. Nothing was ever smooth for me, for sure. He was like, What do you mean you call it gypsy punk? I was like, Well, what the fuck you want me to call it? Thats what gypsies call it.
EB: [Laughs]
EH: You know what I mean?
EB: Yeah. It named itself.
EH: Exactly. I mean, what are you going to call it?
EB: This album is your re-imagining of the Tarantella ritual music from Italy, in a way. Youve talked before about a painting you saw of a woman whose demons were being exorcised by a violinistparticularly that the sexual nature of hysteria and the near obscenity of the painting reminded you of qualities in your band.
EH: [Laughs] Yeah, absolutely.
EB: No, I love it. I wanted to talk about the provocative and sexual nature of hysteria, which is something that in a live environment with the crowd happens at every show. Where do you think that comes from?
EH: Repression, perhaps. Sometimes also painful shyness, I believe.
EB: [Laughs]
EH: I suffered from painful shyness in the past, as hard as it is to believe. I literally would never want to be young again in those years. Fuck no, no fucking way. I think to bring it out of our people and liberate them from that limiteranthropologically speaking, it exists in almost every culture in different shapes. Thats what shamans do. Thats the reason Christianity spread so quickly through Russia because people were starving for some kind of a spiritual ceremony that could give them an experience of beauty, some kind of harmonious beauty. So they sent everyone around to find that new [thing] and people from the Byzantine Empire returned and said, We saw it, its like this. Everybody goes into this mother fucking joint, gets in there, lights up five thousand candles among most beautiful paintings, get down on their knees and start fucking rocking. People said, Wow, that sounds fucking great. How come we dont do that? Lets do that. That was basically one of the most driving forces behind that spreading back then. Same thing with rock and roll -- most of it is basically based on the church ceremony. I mean, its no secret.
EB: A concert is like a weird mass.
EH: Yeah, its no secret that Little Richard and all the [guys] who really made rock and roll what it is, like James Brown, looked at all the tricks in the church from the preacher. Its almost funny; all the churches were so against rock and roll because they were jealous that such a major competition had arrived beating them at their own game. So is tarantella.
EB: Even more so, theres also a sexual force behind confrontation and revolution and I think thats something that definitely informs your music as well.
EH: Absolutely, I just wouldnt even know what else to do.
EB: [Laughs] In another interview you talked about how the role of an artist in modern society is slowly dying out. How do you stay optimistic and motivated when faced with that idea of artistic disillusionment?
EH: Well, I think the optimistic part I simply get from my family. The whole gypsy bloodline is very much cultivated with survival skills for hundreds of years, already. So, in a lot of ways, being influenced by that culture is what set me off to think in unusual, philosophical ways about modern times. Its very interesting but, for example, in gypsy language in Ukraine the word for today, yesterday and tomorrow are the same word. The immediacy is what guides and is the guiding force. Thats not to say its a mindless, live now [type of thing].
EB: Yeah, thats not to say dont think about the results of your actions.
EH: Yeah, exactly its a lot more about actually just being with the times.
EB: And being fully present right at the moment.
EH: Absolutely, this moment is more precious than you think. This idea is recurrent in many philosophies -- the key is not to be ahead of time or to be retro. The key is to be with the mother-fucking times. Thats where the shit is, thats where its happening. I never wanted to be in a band that, 20 years later, is going to be recognized. Fuck that. I want to be with the fucking times. I wanted to bring a radical change for this time. I dont want to influence change 60 years from now when Im already gone. I want to get my kicks and everything I deserve for it now.
EB: You want to see the effects, feel the effects. Like you were saying, that immediacy thats part of what keeps refueling the music.
EH: Exactly, and thats what Gogol Bordello basically has mastered -- this very immediacy driven thing. The music is so immediate. Thats why what you see on stage is life itself happening. There is a tremendous strive for perfection in the band. Everyone is a fucking perfectionist but there is also a special kind of hate for perfection at the same time. Its like on the record we strive for perfection and then live we just want to fuck it up.
EB: Whats with this New Rebel Intelligence concept of yours?
EH: Well, you know, its completely underdeveloped.
EB: [Laughs]
EH: Its pretty interesting how a lot of things collide at this point for me. Its just me and my Dad -- we always have this ongoing thing about quantum physics and astrophysics. Its been our big family hobby forever.
EB: Well, good, then you know exactly what I was talking about when I compared what Gogol does to chaos theory.
EH: Of course. Thats what I do when I go visit my family -- get trashed and talk about the various theories of everything, the super theory of super everything. You know, straight from the table.
EB: Thats amazing. My father is a chemist, so growing up I had father-bonding experiences similar to yours.
EH: Yeah, so you know! Im always talking with all of that. One day I was visiting with my father and he said, I found this theory its called integrated theory of intelligence. It seems basically like what you were talking about, because I was trying to kind of outline my own understanding of things. And I read it and I was like, Well, fucking hell, pretty much. Its an idea that just as there is time and space and energy and matter and intelligence and consciousness is just as much a solid ingredient in the universe and its running solidly throughout everything just like all the rest. Its running through the rocks and your brains and your bones and the water and everything. There is a consciousness and intelligence in everything. So it seems like all the most widespread religions are all like in the primordial schools of thought about all these things. Yeah, but its about time we put some mind to it. Evolution is not over, here comes a new chapter, lets fucking get this thing, lets understand it. What the fucking fuck?
Gogol Bordello is on tour now and plays the Mayan Theatre in Los Angeles October 25. For more information go to www.gogolbordello.com and www.myspace.com/gogolbordello
These stories are, for most, just stories. But for Gogol Bordello, theres more to be found in the psychology of dance mania than just another tall tale. The bands current release SUPER TARANTA! (SideOneDummy Records) bolsters its status as one of the most vibrant and fearless acts on the scene. Known for whirlwind live performances, Gogol Bordello is all consuming with its rabble-rousing, gypsy punk aesthetic and sound. With SUPER TARANTA! Gogol Bordello is going to conquer the world, says frontman Eugene Hutz, Everything on the album is taken to the next level. Its more direct, more abstract, more focused, with more dark humor. The dub parts are deeper; the fast parts are faster, its pure orgasmo hysteria.
SuicideGirls caught up with the Romani raconteur before a recent San Francisco sound check to chat about chaos, red wine and the super theories about super everything
Erin Broadley: I bet theres no such thing as a relaxed sound check for Gogol. Is it hard to get everybody organized with nine people in the band?
Eugene Hutz: Actually, you would be surprised with how professional the band is.
EB: You know, one thing that struck me about seeing your band live is that Gogol Bordello is truly the embodiment of chaos theory. Like, theres a harmony and order to the erraticism.
EH: It has to be. Plus, we had quite a bit of experience before we became like that. I mean, weve been through whole stages of complete chaos where nobody would ever turn up. There were just too many people to get on the same page. We would be very successful to get them in the same book. Now, we still cant believe it but we actually go through these professional operations quite impressively for everyone around. [Laughs]
EB: Right, its like a self-sustaining life force, theres no stopping it once you hit the stage.
EH: Yeah, it definitely comes from being such a big group.
EB: In an interview you did shortly after Everything is Illuminated, you said about the film, Humor is an engine of survival. I agree and would assume that humor plays a big role in your music performance and songwriting.
EH: Yeah, I actually quoted Charlie Chaplin on that.
EB: Oh, really?
EH: Yeah, he was my big guru.
EB: Thats awesome.
EH: Yeah, he was the only American artist that was constantly shown on Soviet television. He was a Commie sympathizer so they couldnt stop playing him. I mean, of course hes fantastic, so.
EB: He was amazing in his simplicity, wasnt he? So many actors today are just big productions, but Charlie Chaplin was so powerful considering how simple his method was.
EH: Yeah, but the less production the wilder the actual creativity there is. It makes up for all the rest. Similarly, the more fucking gear and the more production the band has, the more they suck, usually.
EB: When it comes to humor, can you discuss further the role that humor has played in your life? Like, especially when you were younger moving from refugee camp to refugee camp after the Chernobyl disaster?
EH: Its not only [me]; our whole culture is built on that.
EB: On humor?
EH: Yeah, because Eastern Europe is so rowdy and fun loving and celebrative but if you go there you will not see any of that right away. I mean, its the peoples psychology that learned to come over the top of that gruesomeness -- the only way to elevate, to rise above it, is through humor. I have friends who survive alone on their linguistic skills and all the sparkling energy of inverting information in numerous humorous ways.
EB: I read that you and your friends used to pass the time by making jokes with words and phrases.
EH: Yeah, because there is simply not a whole lot else to do in Eastern Europe.
EB: Well, theres making music.
EH: Yes, that but as far as embodying any broad dreams and stuff like that, youre pretty much fucked. Chernobyl actually brought it out in people to a great amount in the middle of the panic and the major scare of everything, because you know, being told that youre in the extreme danger zone without being able to smell it or taste it
EB: I imagine its complete hysteria.
EH: Its quite frightening. But every Ukrainian citizen already knew that red wine is actually a product that helps to escort Strontium out of the body. Which is one of the more dangerous radioactive elements. Before you knew it everybody was talking about, Yeah, were going to be chasing a lot of Strontium out of the body. Everybody lets chase some Strontium out!
EB: [Laughs] Were doing it for our health!
EH: The whole fucking key was chasing the Strontium out, you know, with double enthusiasm. It was like all this dangerous information was quickly inverted into anecdotes.
EB: Thats a pretty intense situation to grow up in.
EH: I know. We were like, What the fuck is this? I mean, is this for real? You know what I mean? When September 11th [happened], I watched the buildings fall down from my roof. And for people there, the way they were feeling it was exactly how we felt when Chernobyl happened. They were just completely stupefied and shocked by something like that. How can this possibly happen? That was exactly the same as how we felt.
EB: Right. I was watching the trailer for The Pied Piper of Hutzovina documentary that you did. I was really struck by the point that you bring up about the talent that goes to waste of with these people that will never have the access to instruments or funds to pursue playing music.
EH: Yeah, its going to kill you to see that.
EB: Its just really heartbreaking.
EH: Its going to kill you if you see them in the real setting. I go there all the time and I bring more and more of my own field recordings and video recordings and when I show it to people here very often they get tears in their eyes because they cant believe how far from being heard all that talent is.
EB: Is there any progress at all when it comes to opening up avenues for art and music over there?
EH: There are numerous projects that are happening for that to come together, you know, and there always were. But were still pretty far from having a solid Romani name established as a positive force. People are still living in the fucking cave-age as far as knowledge of what Romani culture is. In the meantime, the government makes sure that newspapers breed hate toward gypsies because their advantage is to have a scapegoat to blame in the country. That is why when we went and played Live Earth with Madonna, it was just, like, for two weeks with all the gypsies from Russian Ukraine, Canada, the States, France, just freaking out that it came through so positively. It was such a positive setting. Plus they were just like, Man, I cant believe you got Madonna to sing in Romani. What the fuck? Only you could do it.
EB: Well, if anybody can do it, its you. Come on, thats no small feat. Im sure shes fascinating. Shes quite a character herself.
EH: Oh, its been truly fun to work with her. I was ready to work with her straight off the bat. Her personal style of working with people is just actually so spontaneous. Shes great.
EB: Well, in regards to popular culture, your music is kind of deviant. I mean, if culture dictates what is and what isnt okay and decides who is and who isnt a great artist, then your music and everything it represents strikes me as a slap in the face to that very mode of thought.
EH: Exactly. In Russian there is an expression, a common expression, It doesnt fit into any one gate. Its like any fucking gate it goes in, it warps the mother-fucking gate.
EB: [Laughs]
EH: You know, its too fucking gypsy for everybody else.
EB: Its either too gypsy or not gypsy enough.
EH: Its not gypsy enough for the purists. Fuck all of that. Im making music I like. If you dont like it, switch the mother-fucking channel. Whats the problem? Im pretty happy with all Ive accomplished, especially that all the real Romani activists got on our side before we even got any recognition. The whole idea of gypsy punk actually came not from me. It was actually two gypsy girls who came to see our show who were like, Well, what the fuck, since this sounds like this, you might as well call it like that because if you really think about it we dont really have anything that calls our name in a worldwide kind of level, except for Gypsy Kings. I was like, I think youre right.
EB: In a clip from Pied Piper one guy is a purist and takes your CD out from the CD player.
EH: Yeah, actually at this point that guy is a friend of mine. But thats one of the reactions that I experienced before. Nothing was ever smooth for me, for sure. He was like, What do you mean you call it gypsy punk? I was like, Well, what the fuck you want me to call it? Thats what gypsies call it.
EB: [Laughs]
EH: You know what I mean?
EB: Yeah. It named itself.
EH: Exactly. I mean, what are you going to call it?
EB: This album is your re-imagining of the Tarantella ritual music from Italy, in a way. Youve talked before about a painting you saw of a woman whose demons were being exorcised by a violinistparticularly that the sexual nature of hysteria and the near obscenity of the painting reminded you of qualities in your band.
EH: [Laughs] Yeah, absolutely.
EB: No, I love it. I wanted to talk about the provocative and sexual nature of hysteria, which is something that in a live environment with the crowd happens at every show. Where do you think that comes from?
EH: Repression, perhaps. Sometimes also painful shyness, I believe.
EB: [Laughs]
EH: I suffered from painful shyness in the past, as hard as it is to believe. I literally would never want to be young again in those years. Fuck no, no fucking way. I think to bring it out of our people and liberate them from that limiteranthropologically speaking, it exists in almost every culture in different shapes. Thats what shamans do. Thats the reason Christianity spread so quickly through Russia because people were starving for some kind of a spiritual ceremony that could give them an experience of beauty, some kind of harmonious beauty. So they sent everyone around to find that new [thing] and people from the Byzantine Empire returned and said, We saw it, its like this. Everybody goes into this mother fucking joint, gets in there, lights up five thousand candles among most beautiful paintings, get down on their knees and start fucking rocking. People said, Wow, that sounds fucking great. How come we dont do that? Lets do that. That was basically one of the most driving forces behind that spreading back then. Same thing with rock and roll -- most of it is basically based on the church ceremony. I mean, its no secret.
EB: A concert is like a weird mass.
EH: Yeah, its no secret that Little Richard and all the [guys] who really made rock and roll what it is, like James Brown, looked at all the tricks in the church from the preacher. Its almost funny; all the churches were so against rock and roll because they were jealous that such a major competition had arrived beating them at their own game. So is tarantella.
EB: Even more so, theres also a sexual force behind confrontation and revolution and I think thats something that definitely informs your music as well.
EH: Absolutely, I just wouldnt even know what else to do.
EB: [Laughs] In another interview you talked about how the role of an artist in modern society is slowly dying out. How do you stay optimistic and motivated when faced with that idea of artistic disillusionment?
EH: Well, I think the optimistic part I simply get from my family. The whole gypsy bloodline is very much cultivated with survival skills for hundreds of years, already. So, in a lot of ways, being influenced by that culture is what set me off to think in unusual, philosophical ways about modern times. Its very interesting but, for example, in gypsy language in Ukraine the word for today, yesterday and tomorrow are the same word. The immediacy is what guides and is the guiding force. Thats not to say its a mindless, live now [type of thing].
EB: Yeah, thats not to say dont think about the results of your actions.
EH: Yeah, exactly its a lot more about actually just being with the times.
EB: And being fully present right at the moment.
EH: Absolutely, this moment is more precious than you think. This idea is recurrent in many philosophies -- the key is not to be ahead of time or to be retro. The key is to be with the mother-fucking times. Thats where the shit is, thats where its happening. I never wanted to be in a band that, 20 years later, is going to be recognized. Fuck that. I want to be with the fucking times. I wanted to bring a radical change for this time. I dont want to influence change 60 years from now when Im already gone. I want to get my kicks and everything I deserve for it now.
EB: You want to see the effects, feel the effects. Like you were saying, that immediacy thats part of what keeps refueling the music.
EH: Exactly, and thats what Gogol Bordello basically has mastered -- this very immediacy driven thing. The music is so immediate. Thats why what you see on stage is life itself happening. There is a tremendous strive for perfection in the band. Everyone is a fucking perfectionist but there is also a special kind of hate for perfection at the same time. Its like on the record we strive for perfection and then live we just want to fuck it up.
EB: Whats with this New Rebel Intelligence concept of yours?
EH: Well, you know, its completely underdeveloped.
EB: [Laughs]
EH: Its pretty interesting how a lot of things collide at this point for me. Its just me and my Dad -- we always have this ongoing thing about quantum physics and astrophysics. Its been our big family hobby forever.
EB: Well, good, then you know exactly what I was talking about when I compared what Gogol does to chaos theory.
EH: Of course. Thats what I do when I go visit my family -- get trashed and talk about the various theories of everything, the super theory of super everything. You know, straight from the table.
EB: Thats amazing. My father is a chemist, so growing up I had father-bonding experiences similar to yours.
EH: Yeah, so you know! Im always talking with all of that. One day I was visiting with my father and he said, I found this theory its called integrated theory of intelligence. It seems basically like what you were talking about, because I was trying to kind of outline my own understanding of things. And I read it and I was like, Well, fucking hell, pretty much. Its an idea that just as there is time and space and energy and matter and intelligence and consciousness is just as much a solid ingredient in the universe and its running solidly throughout everything just like all the rest. Its running through the rocks and your brains and your bones and the water and everything. There is a consciousness and intelligence in everything. So it seems like all the most widespread religions are all like in the primordial schools of thought about all these things. Yeah, but its about time we put some mind to it. Evolution is not over, here comes a new chapter, lets fucking get this thing, lets understand it. What the fucking fuck?
Gogol Bordello is on tour now and plays the Mayan Theatre in Los Angeles October 25. For more information go to www.gogolbordello.com and www.myspace.com/gogolbordello
VIEW 19 of 19 COMMENTS
Just got back from watching them at the Mayan......... Outstanding show.... much respect!