Click here to listen to DJ Kool Herc, who is both DNA-level important and genuinely friendly. Click here to buy a box sets of mixes by Certified Bananas. They must be good mixes because the people who mixed these mixes call themselves Certified Bananas and you can’t lie on the web because Attorney General Alberto Gonzalez is watching every word you type and he will come to your house and punch you with a rusty grill tool if you fib.
The somewhat defensively designed and named “the best mashups in the world ever are from San Francisco” CD just arrived. It’s also [insert your own, new fruit-related slang], with unusually hi-fi audio for a mash collection. The sequencing is strong, making it a better album than the British CD it is detourning. There are no world-changing tracks like “Stroke of Genius” or “Smells Like Booty” on the SF compilation, because the world-changing portion of the mashup program is over.
If you like Chris Morris or Ricky Gervais, then click here. You probably already have.
Cai Guo-Qiang is ill.
(All photos courtesy of Tricia Romano.)
• If you have own a club and you are unsure who to book, book MU. When MU is done performing, book MU again. Repeat until Grace Jones shows up. And then boook MU again.
• People will tell you "Omigod, it's never like this," and then say, "Oh, this is just how South Beach is, every day." You will have to make the call.
• Being on a "guest list" and having a "press badge" at the Winter Music Conference is like being mugged and having a "super power ring" on your finger. The physical doodad has no effect on the social reality.
• You can make a killer top by sewing a guitar strap to a common pink sleeveless shirt and hooking the strap over your neck.
• Fubu made some kick-ass pink and white sneakers a few years ago. The pink part is leather waffle weave. Unexpected.
• If you attend a two hour DJ set at the Adidas store, you will not leave alone.
• Cocaine can make nine people appear out of nowhere and fill up a room, like a reverse David Blaine meets the VW circus clowns trick.
• Electronic music buddies are totally comfortable talking about endorsements, commercials, co-sponsorship and all manner of mersh madness. Even bringing up the hint of the Marxist spiderweb just gets you the smiley e-face: "What, bro?" (Add hugs as needed.)
• People really say "Do you have any cold Red Bull left? Really cold?”
• Some women who walk around in black teeny kinis have no problem yelling “Fucking rapist" at car trolls.
• If you take your family to Miami during WMC, you are totes insane.
• "In Dade County, we are allowed to double up during especially busy times. We just have to agree on the fare before we begin. Ten dollars seems fair. That seems good for a trip to the Wyndham. With the congestion, people just won’t go out if they can’t get where they’re going, and that's bad for the city. We’re allowed to do this. It’s great. I paid off $5000 on my Sears credit card last week.”
• I have no idea what a fair price for a trip from the Wyndham to The Surfcomber is.
• You cannot walk from here to there. Don't memorize any set of directions that begins "You walk down Collins eighteen blocks..."
• You need to learn your photo face. You think you're above the narcissism, and then somebody takes your picture and all you can think about for the rest of night is "Did I look like that dude from The Grifters?"
• Do not take lipgloss application lessons in a moving car from someone who has recently snorted cocaine.
• Prodigy from Mobb Deep and The Alchemist, though neither tall nor very dancey, roll through M.I.A. in a long white limo.
• DJ Hell is one motherfucking DJ.
• Your correspondent is not mad at Miami.
Bring armshouse to Columbia's house tonight, or just stop by to say hi and express your love for Movable Type and fruit fly news cycles.
Except for “Moving To Florida” (pigfuck chopped and screwed twenty years ahead of schedule) the Butthole Surfers catalog is of no utility.
Are The Beatles the only band who have not reunited/reformed? (We are counting one song reunions as reunions.)
Here is a piece about my brother and Jonathan Hoefler, those people who make those letters on your computer.
“Hey Pa, I got in to the car and went real far and saw a star and I wanted to wave my claw by I didn’t want to break the law or my jaw, so I called Ma and said ‘Haw haw haw!’”
“Barry just does not inspire any confidence. I have made it a habit to avert my eyes when he speaks. It’s like, yes there is a race/empathy card to be played, but you’re playing it the wrong way! It would have been far better if he had allowed the media/fans to see his vulnerability after his father passed, etc., but he maintains this self-righteous, indignant and hyper-surly pose that evokes suspicion rather than admiration. The latest: yesterday, with his oldest son next to him (and, reports Jazzbo, strategically placed in front of the camera eye) he spoke of the pain the steroid issue has caused him and his family (cue son) and how people have been ignoring the severity of his bum knee. As it stands, he claims, he will be out at least 80-ish games, possibly more, possibly forever. Which, if you think about it, is just crazy. Knee injuries of that type don’t usually take that long to heal; they rarely result in retirement; and, in light of last October’s bloody sock spectacle, it’s even harder to believe that this isn’t just a sly way to evade the steroid issue, beg out of the Babe/Aaron homer watch and pass gently into the night.”
“Who’s got dance moves? If I like what you’re doing, I’m going to copy you. OK, you over there, with the hands! Nice!”
Oxford Collapse were strongness last night at Rothko. That Ron Johnson sound is back, with a touch of “Chronic Town.” Saw the actual Robert Lloyd fronting the portable version of the Nightingales. Lloyd’s voice was a little road-damaged, so we didn’t get the full onslaught. Still a thrill to hear a version, any version, of “Urban Ospreys.”
My own October, 1974, was not quite this eventful.
"It looks good, man. Is it big enough?"
"I'm not sure. I wear it a little back."
"You making the move?"
"Trying. I got a suit online, but it didn't fit."
"No, you gotta get that shit made. I found a guy. $40 a shirt."
"Man, I'm staying dry. You know what Lincoln said. 'I like it too much.'"
"It's too predictable. It's always the same woozy, and then the next day, the same inabilities. And you talk too much and you're never that funny. Or I'm not."
"Yeah, I don't know why my wife doesn't mind."
"What is it, jazz day? You're Dizzy Gillespie now?"
"It's just a first step."
"You're making the move? Suits? Bolo ties?"
"Woah, nice. Are you gonna wear it indoors?"
"I don't think you can really do that."
"Sure you can."
"I'm not there yet."
"Are you making the move?"
"Might. Just found a tailor today."
"Steve is making the move."
"He is? I thought that was just for the funeral."
"No, it's like three out of five days now."
"Man, I need to talk to him."
"What's with your too-small hat?"
"I didn't want you to say that first. Say something else first and then say that."
"I like it. It's too small."
[Dinner, music, time, description of day.]
"That's what people say? 'Making the move'? Your day sounds like a Seinfeld episode."
I am glad Jessica sent me this. I am so tired I can't actually read, so I hope this isn't in Urdu or something:
"What I know about the SoundScan sheets: usually it's a tour manager doing it. You have to have it signed by three people total, including the club manager, a band member and whoever does the merch, or the manager. Every band I know that actually cared was dilgent as hell. If you do not care, you underestimate it, but the bands that actually do SoundScanning at shows are the ones who are only marginally impacted by it: i.e., Death Cab and Postal Service and Modest Mouse are playing to a few thousand people a night, and those kids all already have the records (from Hot Topic and national chains), and thusly, popular bands mostly just sell t-shirts, with some exception for MM because they have a big back catalog on less distro'd labels (though they now have stocked sections at Virgin and Tower and the like with all those bad EPs on K from like, 1997).
There was a big scandal 2 years ago with a couple smaller emo/indie bands falsifying their SoundScanning sheets, and so they were stricken entirely from SoundScan because they (SS) check the numbers against your album-pressing numbers and against Pollstar info about show attendance.
Also, curiously enough, pop punk emo bands have started doing two things: 1. Bring in a "weighted" mom & pop SoundScan store (indies where it counts 4 or 10 to 1 on every sale to "balance out" missed sales on not reporting stores) to set up a "store" at the show, and do all merch sales, plus do a big initial order to cover the release, something usually only done in the first 2 weeks of release in order to buoy SS and early ship numbers, which, in turn, is the best way to get into Best Buy and national chain stores. This was a practice popularized by Vagrant records. Last year, some moderately popular pop punk band included record purchase along with ticket price, so everyone who came to the shows on the entire tour that bought a ticket also bought an album in tandem, and so their SoundScan numbers were around 8,000 a week just based on concert attendance. People are really learning how to manipulate the racket right back.*
Most of these bands are on major label records, and have e-z distribution and high profiles; people are buying those records at Coconuts and Sam Goody, which are 1-1 ratio SoundScan reporters, meaning their data are likely to be accurate. Death Cab might be the only one off base because they are a for-real-yo indie, and this was their first break out album as far as sales. My question is this: who the fuck is buying all those Donnas records?"
* Ed.: This is how Prince got Musicology into the Top 10, and to gold. (Platinum?)
Jack Alou writes in with some information that, embarassingly, is news to us:
"Those Billboard figures are wacky. Thought I'd let you know, as others probably have: labels, starting at about mid-indie range, tend to ask their bands to fill out Soundscan sheets at each show: you write down how many you sold, the clubowner or booker signs the sheet (as though he were monitoring that shit or something) and then you're supposed to fax it in the next morning. Reliability varies, as few people carry cash registers while many get drunk during shows, and who wants to fill out numbers sheets when they're drunk?"
Today is the day we get The Hat. (Relevant model not pictured on site.)
What is with people sneaking smokes in clubs? Dudes, plural, there is A LAW. STOP SMOKING. I am not trying to smell like you.
And don't join an online typing lesson site, because they send you these hella-guilt inducing updates: "Hello Sasha Frere-Jones, you are receiving this message because you created a user account with Learn2Type.com on February 28, 2005. Learn2Type has been awarded the prestigious 'StudyWeb® Academic Excellence Award' as one of the best educational resources on the Web; and has been featured in the Yahoo! Internet Life Magazine "101 Most Incredibly Useful Sites".
Although you have not visited us since February 28, 2005 your account is still active."
You know who is clever? The Hollywood Poilce. Read why, below, in an excerpt from an actual press release sent by an actual publicist:
"SLASH’s trademark black top hat--one of rock’s most recognizable images--is finally back in his possession after it was missing for over four weeks. The acclaimed guitarist’s hat was taken from his limo the night of the 2005 Grammy Awards (Sunday, February 13) in Los Angeles. It was recently recovered by the Hollywood Police Department, who are still conducting an investigation.
SLASH has owned this black top hat for over 15 years and it’s traveled around the world with him. “It’s at the point where I only wear that particular hat to special engagements like photo shoots and the Grammys, etc.” SLASH notes. “I don’t take it on the road.” It was at the Grammys where VELVET REVOLVER won for “Best Hard Rock Performance” for their #1 single “Slither” and performed The Beatles song “Across The Universe” along with an all-star lineup of vocalists.
“All things considered,” SLASH said, “it was such a blown out of proportion, wacky scenario. I’m still getting reports from all over the world that someone’s got the hat. I’m just glad to have it back and we’ll see what the cops come up with as far as who stole it.” He continues: “It was a trip to go sit in the little room at the police station and they came in with a box and opened it up. I saw it and said, ‘Yeah, that’s it’.""
Here are some SoundScan figures I got from an unlinkable Billboard piece today. Unless I don't understand something (always likely), these figures do not represent sales of CDs through record clubs (Columbia House/BMG) and non-digi mom and pops.
The Arcade Fire, Funeral: 104,000
Interpol, Antics: 287,000
Death Cab For Cutie, Transatlanticism: 283,000
The Shins, Chutes Too Narrow: 293,000
The Donnas, Spend The Night: 450,000
Yeah Yeah Yeahs, Fever To Tell: 498,000
The Postal Service, Give Up: 527,000, "making it Sub Pop's second best seller behind Nirvana's "Bleach."
(Unrelated: Shelby Lynne seems to be staying at that hotel where they promise to give you a wake-up call and then don't.)
Unless you’ve got a date with Virgin Megastore to buy your fifth copy of “The Massacre,” you should go buy some of these insane straws that turn from blue to purple when wet. I saw these with MY OWN EYES.
Where am I? What am I holding? I'm on the W—better than the V, because it never phonates like another letter ("What? I take the B? The G?")—and something falls out of my Voice. It's Savvy, a new fifteen page insert that looks like some seatback airplane asswiper, but I think it's on some Time Out New York-lite shit. It's in four colors? Our heart sinks, and then we see our man back in the game, tipping on OS X. And then, boom, Greg Tate sticks with hip-hop, and he's not letting go of Marx either. (That's when you pay attention to who owns stuff, and who gets paid off what. Like hip-hop!)
If you lost your guide to the gladiator matches, check Jeff Leeds and Lola Ogunnaike on Hot 97's Hall of Shame. Both reporters are reliably fire, and this piece is no exception—and it's a duet, like hip-hop!
And in a truly pathetic attempt to right years of discrimination against our beclawed brothers and sisters, the Times runs a lobster puff piece for the second day in a row. Lobsters—don't take the money. Stand up and fight. You need your own column.
I can't make iDisk sync. I've looked everywhere and tried everything. This is why I haven't posted to Sticker Shock. Please help me, o interweb.
At the Citibank on the corner, five minutes ago: Two guys were working the "paid door-opener" routin, trying to step up their chat to cadge more change. A couple of customers entered.
DOORMAN 1: Have you seen Ray Charles?
CUSTOMER: Ray Charles is dead.
DOORMAN 1: No, but the movie is alive!
DOORMAN 2: We can't verify that. It's a movie.
From A href="http://www.nyrock.com/conf/index.asp">Jeanne Fury, who talks to bands about pee and brooks no nonsense:
"I just came across this site and wanted to pass it along to all of you. I suggest taking the survey to help inform this organization. Please pass it on to anyone living in nyc.
'Although the gentrification of Williamsburg and Greenpoint has received generous press coverage, the spike in violent attacks against women in these neighborhoods has not. Enter NYC-rapemap.org. This volunteer-run organization serves as a forum for women who have been assaulted and also provides an online map charting points of assault, sketchy areas, broken street lights, and safe havens.'"
The release of Cam'ron's highly anticipated Blue Lobster is allegedly being held up by Greenpeace; sending bits of metal to bulk mailers is totally street team; Gertrude Stein has never lost her shine, and we love imagining a 13-year-old reading Margo's excellent semi-primer, then rushing out to buy Three Lives (I never made it through Americans, either). Also happy when New York acts like New York and Michiko pulls the four pound out of her Prada bag.
"As for what Nick put you up on, a lot of bombers I've talked to/interviewed have told me they fucking hate it when newbies co-opt a classic tag to make a name for themselves. To say it's "custom" for writers to do it is half-accurate. They gets no respect for it from the old guard."
I have no data of my own to add to this debate. The last time I really wrote—Kraze 12, and if you find my one public tag, you're some kind of criminal/masochist genius—I sort of knew one dude who was with Rolling Thunder Writers, maybe. That's about it. I was mostly a fan then, and definitely just a guy taking pictures now. I have no idea what the byways and laws are now.
I can see why you might spend your life trying to relive the moment when you really heard Highway 61 Revisited for the first time, as I did on Saturday, while cleaning the house and craigslisting old baby gear. It was like hearing "Rocking It" by the Fearless Four or "Buffalo Gals," or some other shit that made me feel like I had been turned into a vacuum sucking the world in through my nose. (Sunday, I heard someone with "Rocking It/Man Machine" as their polyphonic. Easily the best ringtone of the last few months. Where did they get that?)
iPod? Still scared of its curatorial bent. Cornelius' Point? So slept on. So wrong, this sleeping. The Charlie Watts on "Bitch"? Makes me want to have five kinds of sex all at once and then listen to "Bitch," again, at the same time, before I had even thought of doing it. And then came, true segue (no pomo), "Bitch Niggaz" by Trillville. Fun programming quirk, but not a great transition and it's a b-list track by New South standards.
Converge? Still heart 4ever.
"I'm so confused! I don't know when my not real party is. Everything is confusing!"
The photo in the print version of the grime piece got shrunk, so here is a JPEG with IDs.
(Photo © 2005 Anton Corbijn.)
REAR: Jammer, Durrty Goodz, Target, Flo Dan, Ears, Taliban Trim, Riko.
FRONT: No Lay and Lady Sovereign.
"Dude, do The Human, do The Human! Rock that shit"
"Can't handle it, brah. I'm totes buzzed on Mountain Dew."
Unqualified high: Introducing DJ O.G. Ron C. to "Making Plans For Vinyl." More qualified high, which needs elaboration: Watching Ears/Airs, D Double E and Jammer introduce their reloads and rewinds. Sidebar on Rothkopf's unsually large bouncing crew, and I don't mean bankheads.
Nick schools us: "Re: tag reissuing - stayhigh is still out and writing every now and then, but it is custom for new writers to tag the names of old ones (usually when deceased) to ensure their tags still 'run'." This wasn't the case when we were tagging in the 1840s, but we are told that time keeps on slipping into the future. I would like to see some Sake tags reissued. That W ride to Times Square is hella dull without the calligraphy.
P.S: Natasha Bedingfield really isn't a full-on Nelly Furtado, but The Soundtrack of Our Lives really did take the Oasis pill. It wasn't some low-blood sugar perception.
Anyone know anything about the biting/tributing author of the above throwback tag? Is this some Red Bull campaign?
BONUS OLDIE: I am sure this is wicked last week, but it remains relevant.
It only costs a dollar, but The New York Times can make you feel like motherfucking Michael J. Fox. Pow! It's 1936. Pow! It's 1958. Pow! It's 1994. (Better tell Dido about this whole folk-hop thing.) Pow! It's 198forever and Axl won't come back.
When you're done, you can come right back to now, because all that time travel will eff with your mental.
(PS: Because some readers apparently need to have their hands held any time something other than raw endorsement or snark is on offer, here is a helpful clairification to keep on hand for future reuse: I am not snapping on all of these people, nor am I usually when I reference people. I don't always know what I think, and I don't think it always matters if that shoe ever drops. The Guns & Roses piece is lotsa fun; Lubow's Beck piece seems fine, except for the remarkable idea that folk-hop = Beck; Hajdu's piece is outside my ken so I can't really judge it; Clyde Hooberman has been dafter than a bag of nails for years; and K is Killer K. The cumulative effect got to me--it seemed like of people running all over the timeline at the same moment, and that was, like, funny, or notable. And like I said, if you don't get those Blogspace feeds, the pieces become costly in the arkive. And we say no to that!)
Hip-hop mixtapes—a term that represents the product’s physical origin as a cassette tape, though mixtapes are now pressed and sold as CDs—circulate in a national circuit of DJs, m.c.s, online outlets and street vendors. The material on mixtapes tends to be new songs donated to DJs by artists months before their official release, or the work of m.c.s. rhyming over the well-known beats from other songs. This music is all glued together by “drops,” the moments when the mixtape DJ yells his name and acknowledges his friends. None of this robust activity acknowledges the traditional legal obstacles of licensing or legal clearance: Mixtapes simply appear, over and over, making the major label hip-hop CD feel somewhat anticlimactic, like a brief Monday morning summary of cheerfully miasmic weekend (or awards ceremony).
By the relaxed standards of hip-hop events, the Annual Mixtape Awards went smoothly. Mishaps were few and impermanent, none of them life-threatening. Nominees carrying actual tickets for the event were sequestered behind a barricade in the cold for an hour, while an amoebic crush of "guests" claiming to be "on the list" tried to squeeze into the club. A well-known mixtape d.j. named Kay Slay arrived wearing a leather cap and matching jacket both emblazoned with variously colored Louis Vuitton logos. As he walked into the club, unimpeded, someone cried out, “Kay Slay don’t need no ticket!” which was apparently true.
A curious theatergoer headed for “The Lion King” asked what everyone was waiting for.
“The mixtape awards, son!” someone replied, though he was addressing a woman.
“What’s a mixtape?” she asked.
“It’s the truth, mommy, street truth,” his friend added, helpfully.
“Sounds great,” she said cheerfully, stepping over a blanket of flyers and posters for 50 Cent and Brooke Valentine.
Justin Faison, thirty-six, the bearish, friendly man who started The Mixtape Awards in 1995, stood at the bottom of the stairs inside the club, greeting people, some quite vexed, a state that did not worry Justo.
“Here’s the two reasons why you can’t make mixtapes corporate,” Justo explained, as people filed into the main room of the club, some plainly flouting Mayor Bloomberg's no smoking rule. “You can make mixtapes till you’re blue in the face, but selling them is illegal. The other thing is that hip hop is meant to be like it is on mixtapes. How can I hear Jay-Z and Nas together on a song? Only on a mixtape, because if you got an instrumental and an acapella, you can make anybody be on anybody’s record. You get to hear some of the things you would never get to hear in real life, the things that should be possible.”
Ron G, a DJ who began releasing tapes in the 1980s, is widely credited with creating the “blend,” a combination of the acapella vocal track from an R&B record with the instrumental beat of a hip-hop song, or vice versa. Years later, Sean “Puffy/P. Diddy/Sean John/Cardinal Richlieu” Combs used the “blend” method for releases on his Bad Boy label and secured his commercial reputation.
“Puff took what Ron was doing and made records out of it.” said DJ Green Lantern, winner of the evening’s 2005 Mixtape DJ of the Year award. “That’s a known fact. It’s all good.”
Along a wall of BB King's hung a series of basketball jerseys, imitating a tradition visible in Madison Square Garden, a gesture made to honor various disk jockeys: Kay Slay (99), Doo Wop (10), Screw (13), Starchild (20), S&S (31), DJ Juice (7). An enormous man sat next to woman with a huge pink afro wig in the VIP section located right beneath the wall of jerseys. I asked the man if he was a DJ.
"No," he replied, adding, "I don't mind DJs."
Green Lantern, currently working as Eminem's tour DJ, tried to explain mixtapes, though he mentioned that he wasn't interested in going on record about his own mixtape work. “It’s just the realest form of promotion, because it deals with the streets and the people directly, with no marketing team involved, no label clearances and no lawyers. It’s a great look.”
The presentation began an hour and a half late. DJ Jassy Jase played popular hip-hop songs of the moment like Amerie’s “1 Thing.” Frank Jigga, a local host of club nights, and Mad Linx, the host of the BET cable show Rap City, served as hosts.
Mad Linx announced: “Seats are at a premium right now, so if you don’t wanna stand up all night, you might want to plop your ass in a chair. Big up to all my people at the bar, what’s good? Lovebug Starski in the house!” Linx maintained a sort of verbal CNN crawl as he espied people he recognized: "Craig G and S&S in the house! Cuban Link, what up my nigga!"
Awards were presented in twenty-six categories, including best Midwest Mixtape DJ, Rookie of the Year, and Best DVD Magazine. One award, for Mixtape of the Year, was presented by a seminal 80s mixtape DJ named Silva Sir-fa (introduced as "the LES' finest") and a female m.c. from Newark, New Jersey, named Rah Digga.
“Let’s present this joint right here,” Silva Sir-fa said. “But it may be a little confusing, because it’s confusing to me. This is the best mixtape of the year.” The two presenters struggled through a list of names, which seemed to be both the only nominees and the only winners. “Big Mike, Green Lantern, and Jadakiss for ‘The Champ Is Here’!” Rah Digga finally concluded.
Sway got up and mentioned "the first black Jew, Pooky Goldstein." DJ OG Ron C won for Best Dirty South Mixtape and gave credit to Houston's DJ Screw: "If it's slowed down, it's breaking records like it's supposed to be."
The awards themselves became increasingly surplus to the activity in the room. The main purpose of the evening appeared to be drinking Patron margaritas, shaking hands and exchanging business cards. Several awards were greeted with total silence, overwhelmed by the vigorous socializing in the room. Several brief performances by m.c.s received attenuated response; when the very same person left the stage, he was greeted by embraces and hand clasps. It was a very huggy evening.
The action eventually moved into an impromptu green room, off to the side of the main stage. A man named Booz from a website I had not heard of showed me a belt from "the Pum Pum Federation" of Brazil. He made a woman show me her breast. When pressed, Booz revealed that he had not been nominated for anything.
Several verifiably big entertainers swept through, including rapper The Game, who had publicly ended the feud with 50 Cent earlier in the day (a performance as convincing as Randy Johnson saying "I heart New York.") Mr. Game entered with a tightly packed escort of bright lights and was greeted by many raised microcassette recorders. A reporter tried to ask about the deal Game had made with 50 Cent.
“I don’t make deals,” The Game responded. “The devil makes deals. I’m just trying to feed my son.”
Sean “P. Diddy” Combs walked through, brandishing a champagne bottle, enveloped by three industrious bodyguards who swept people and tables out of the way. He posed with his award for The Mixtape Top Executive and Lifetime Achievement for one of the eighteen people walking around with personal DV camera/floodlight combo packs. Looking haggard, DJ Green Lantern escaped up a small staircase nearby, and looked down on the crowd from a small balcony.
“I won four awards tonight—the Best Mixtape DJ of the year, the Best Mixtape Producer of the Year—for DJs who actually produce beats as well—the best Mixtape Duo award, for me and Big Mike, and one more, whcih I really forgot. I think maybe I won the first one twice. I’m gonna have to look at the plaques.”
"If was an architect, and I had to draw a picture in it, what would I do?"
"Buddy, you're still asleep."
"OK Dad. Sleep well. No robbers."
I hadn’t listened to the Dinosaur Jr. records since 1987, when I was in a band and living with a bandmate whose taste was literally visible: every time he listened to a record, he left big thumbprints on it. I have hard evidence that he liked Dinosaur Jr. a lot.
Received a new book about Chris Marker by someone named Catherine Lupton, but haven't read it yet. Or any of it. "It" would be all of it. Conflicting reports about Nellie, so we'll just withdraw the idea and say that maybe Lincoln Center is uptown, and maybe the Bowery is downtown. I may be on Brian Lehrer's WNYC show tomorrow morning, but maybe not.
Nothing if not absolutely resolute.
Anybody know anything about Nellie McKay throwing a Chan Marshall-style crispy at Lincoln Center on Tuesday?
Rakim, EPMD, Cold Crush Brothers.
April 4, 2011: “On Display,” LCD Soundsystem.
December 20, 2010: “Baby, He's A Star,” Prince.
November 8, 2010: “Black Power,” The Black Angels and Black Mountain.
September 27, 2010: “Safe and Sound,” Fennesz.
September 13, 2010: “Hardcore Living,” Fucked Up.
August 16, 2010: “Cutting Edge,” Scissor Sisters.
August 9, 2010: “Teutons of Fun,” Michael Rother & Hallogallo.
August 2, 2010: “Float On,” Spiritualized.
July 26, 2010: “Knight To Bishop,” Sir Richard Bishop.
May 31, 2010: “Down and Dirty,” The Chrome Cranks.
April 19, 2010: “Leash Laws,” Snoop Dogg.
March 22, 2010: “Big Step,” Nero.
March 1, 2010: “Answer Men,” Die Antwoord.
February 8, 2010: “Unsound Opinion,” the Unsound Festival.
January 18, 2010: “Vocal Hero,” Marianne Faithfull.
December 14, 2009: “Clap Hands,” Phenomenal Handclap Band.
November 16, 2009: “Testing Their Metal,” Metallica.
November 2, 2009: “Beating The Sistema,” Buraka Som Sistema.
October 26, 2009: “Rock The Bells,” Sleigh Bells.
October 12, 2009: “Minogue Nation,” Kylie Minogue.
September 21, 2009: “Sunn, Here It Comes,” Sunn O))).
September 7, 2009: “Passing Fancy,” Sondre Lerche.
August 31, 2009: “Pet Sounds,” Pet Shop Boys.
August 10, 2009: “Ejstes Rockets,” Dungen.
July 27, 2009: “Hey ’09,” Steely Dan.
July 6, 2009: “Grate Expectations,” The Grates .
June 22, 2009: “Swede Deal,” Anna Ternheim.
June 8, 2009: “Major Mixup,” Major Lazer.
May 18, 2009: “Acting Up,” Annie Clark.
May 11, 2009: “Wooly Bullies,” Mastodon.
April 20, 2009: “Number Nine,” Kode9.
April 6, 2009: “Master Class,” Kutiman.
March 30, 2009: “Dance Revolution,” Flashing Lights, DJ Ayres, Catchdubs, Jubilee, Kanye West, Lady Gaga, Fake Blood, Acid Girls.
March 23, 2009: “Pay Scale,” Prince, No Doubt, downloads, concert tickets, economics of pop music.
March 16, 2009: “Dropping Gems,” Micachu and the Shapes.
February 9, 2009: “Trullie Yours,” Lissy Trullie.
January 26, 2009: “Pandora, Explorer,” Pandora and streaming audio.
January 12, 2009: “Instant Karma,” FM3’s Buddha Machine.
December 15, 2008: “Ball Control,” Z-100’s Jingle Ball.
November 24, 2008: “Hip-Hop President,” hip-hop songs and Barack Obama.
November 17, 2008: “The Spirit Moves,” The Duke Spirit.
November 3, 2008: “Regular Gui,” Gui Boratto.
October 13, 2008: “The International,” Brazilian Girls.
September 22, 2008: “Valentine’s Day,” My Bloody Valentine.
August 25, 2008: “Signs Of Life,” Nas.
July 21, 2008: “Just Say Yaz,” Yaz.
June 30, 2008: “Made In Africa,” Orchestra Baobab.
June 23, 2008: “Young Folk,” Laura Marling.
May 19, 2008: “Reasonable Doubt,” hip-hop responds to the Sean Bell verdict.
May 12, 2008: “Wild Gift,” Arthur Russell and “Wild Combination.”
May 5, 2008: “Set To Stun,” Megasoid.
April 21, 2008: “One-Point Bulletin,” “Funky Nassau: The Compass Point Story, 1980-1986.”
March 31, 2008: “Iraq Band,” “Heavy Metal In Baghdad.”
March 17, 2008: “Emmy Award,” Emmy The Great.
March 10, 2008: “The Power Of Two,” Justice.
February 25, 2008: “Always In Fashion,” Roxy Music on DVD.
February 11, 2008: “Housin’ The Joint,” Kool Herc and 1520 Sedgwick Avenue.
January 21, 2008: “Sales Force,” SoundScan numbers for 2007.
January 14, 2008: “Seeing Is Believing,” Snoop Dogg and Master P.
December 24, 2007: “Musical Youth,” Souljaboytellem, Lil Mama, Sean Kingston, Bow Wow, Chris Brown.
December 3, 2007: “By The Book,” “Born In The Bronx” and “The Breaks.”
November 26, 2007: “Grime Doesn’t Pay,” Wiley.
November 19, 2007: “Caetano Time,” Caetano Veloso.
November 12, 2007: “Going Bananas,” Melt-Banana.
October 22, 2007: “Dance Everywhere,” M.I.A.
October 8, 2007: “Hives Alive,” The Hives and Maroon 5.
September 3, 2007: “Full Of Grace,” Vampire Weekend.
August 13, 2007: “Great Danes,” Junior Senior.
July 30, 2007: “Seventh Heaven,” Culture and “Two Sevens Clash.”
July 23, 2007: “Battle Stations,” Battles.
May 28, 2007: “Three On A Match,” Yo Majesty.
May 14, 2007: “Assembly Required,” Cornelius.
April 30, 2007: “Baby Love,” Natasha Bedingfield’s “I Wanna Have Your Babies.”
April 9, 2007: “Indecision,” Soulwax.
March 19, 2007: “Viral,” the marketing of “Year Zero” by Nine Inch Nails.
March 12, 2007: “Diamond Life,” Lavender Diamond.
February 19, 2007: “Direct Effect,” Jennifer O’Connor.
February 5, 2007: “Justin Time,” Justin Timberlake & Pink.
January 22, 2007: “Bird Songs,” Andrew Bird.
January 8, 2007: “Space Invasion,” MySpace and Bunny Rabbit.
December 25, 2006: “Ring In The Old,” Patti Smith.
November 20, 2006: “Triple Threat,” Redman, Keith Murray and Raekwon: Rock The Bells Tour.
October 30, 2006: “Rocking Out,” Buckcherry.
October 23, 2006: “Brut Force,” Art Brut.
October 2, 2006: “Bringing Sexy Back,” CSS.
September 11, 2006: “Nine Lives,” Cat Power.
September 4, 2006: “Off To The Races,” Earl Greyhound.
July 31, 2006: “Funky Brazil,” Lenine.
July 3, 2006: “The Future Is Now,” The Futureheads.
June 19, 2006: “By A Thread,” Camille.
June 5, 2006: “Crown Royal,” T.I..
May 29, 2006: “The Great Between,” Grant McLennan.
May 15, 2006: “Sticking To His Guns,” Guns N’ Roses.
March 27, 2006: “Have Faith,” Th’ Faith Healers.
March 20, 2006: “Sweet and High,” Nicole Renaud.
January 23, 2006: “The R,” Rakim.
January 16, 2006: “They Got The Silver,” The Rolling Stones.
December 26, 2005: “Ne Plus Ultra,” Ultramagnetic MCs.
December 5, 2005: “Unholy Racket,” Pretty Girls Make Graves.
November 28, 2005: “Son Is Shining,” Damian “Jr. Gong” Marley.
November 21, 2005: “In Time,” The Meters.
October 31, 2005: “A Going Concern,” The Go! Team.
October 10, 2005: “Around The World,” Lhasa.
October 3, 2005: “Metric System,” Metric.
September 5, 2005: “Life and Death,” Napalm Death.
August 8 and 15, 2005: “The African Blues,” Amadou & Mariam.
August 1, 2005: “Dirty Deeds,” The Dirtbombs.
July 4, 2005: “Pouring It On,” Syrup Girls.
June 6, 2005: “Dude Raunch,” Devin the Dude.
May 30, 2005: “Minute By Minute,” “We Jam Econo,” a documentary about The Minutemen.
May 16, 2005: “Hoofing It,” Deerhoof.
April 25, 2005: “Having A Ball,” The Great African Ball.
One reason I am in love with Lemon Jelly's "The Shouty Track" is this video, which was directed by Airside, not Shynola as previously reported. (Like, as previously reported to my brother, but whatever—we value accuracy.)
New Certified Bananas mix available for download here.
Sometimes my people in England are too mellow. Here is an example of that too much too mellowness. This compilation is called The Trip, created by Snow Patrol. It is part of a series of The Trip compilations, which I know nothing about beyond this one. And insofar as singer and guitarist Gary Lightbody (a.k.a. Pete Townsend) selected the tracks here, Snow Patrol deserve nominal credit. But it is the mighty Roy Kerr, The Freelance Hellraiser, who mixed and sequenced the whole thing. And because he has binoculars strapped to his bananas, this 2 CD mix ("Bert" and "Ernie") can fuck successfully with rare groove, Rilo Kiley and Deerhoof. That's the type of tai chi Roy knows. But somebody at Family (Universal?) didn't want to put a big FREELANCE HELLRAISER MIX sticker on it, so this is sitting on a shelf in Leicester Square behind the Keane vs. Jamie Oliver DVDs. Give it some love.
"Baboons, baboons, baboons, bamboo, bamboo, baboons, baBOONS."
"Your hat fell off."
"Do you like baboons?"
"No. But I do think I like the color of their tushies."
"What color is that?"
"I don't know, but someone said it was red."
Please stop shooting each other. You have more money than everyone in Arkansas combined with everyone in Mauritania. We're eventually going to have sit through the spectacle of your emotional VH1 peace conference/sneaker re-launch, so just sekkle down in the yard and have a fucking Chipwich. Shooting people is weak.
I sure do like Green Lantern's production. He's already got "Talk About It" and "Everyone's Spot" on the board. Beats are actually easy.
MF Doom and Cam'ron are almost the same rapper, aren't they, give or take some sexual violence, propulsion and desire to project, travel and land? And there is something in the air tonight like Phil Collins' royalty check: Doom's new Live From Planet X! album suggests that his punchlines and Cam's and Kano's and Taliban Trim's are all converging. The sound of words is the new crack.