I LOVE HER.

Some things I've written.

Marnie Stern

Ms. Stern is tough. If you need evidence, you need only consult her Rocky-inspired video for single "Ruler" off 2008's This Is It And... (+27 more words). Not convinced? Check her finger-tapping playing on "Transformer." When this blondie rock maven shows off her guitar skills she channels metal, riot grrl, indie rock and punk. It's no surprise she's teamed up with Zach Hill who plays and produces on Marnie's albums. The result is heady equation of Karen O from the Yeah Yeah Yeahs plus Sleater-Kinney times Tegan and Sara.



Four Tet

London-born Kieran Hebden has been playing with a laptop for the past decade. He chops up beats, noises, samples and instrumentals and then molds them into funky electronic grooves and hooks. 2005's aptly titled Everything Ecstatic was an explosion of glichey hip hop and a tightly constructed set best appreciated on a dancefloor. Most likely that dancefloor will go bonkers over the dozens of re-mixes he's pulled off for indie royalty (Madvillian, Battles, Notwist, Radiohead, etc.) and will probably pull out tonight



Ellen Allien

Ellen is a city child, quite literally, its the title of her debut LP, Stadtkind. She is a West Berliner through and through, titling her sophomore effort Berlinette. Inspired by the reunification of Germany, the skilled producer, re-mixer and DJ started picking up spinning residencies across the city and a radio show with Berlin's Kiss-FM. Combining elements of experimentalism, techno, house and minimal electro, she's been throwing parties and making people sweat for years. A decade, in fact, and tonight she celebrates 10 years of throwing parties and putting out records with BPitch Control.

Just needed to get that off my chest.

OK. Here it comes. I can feel it. I need to freak out for a second.

Facebook and Twitter are fucking nuts. This stuff is getting to be a little too much. I'm not sure if I can handle this much longer. I have a hunch there's going to be some kind of backlash. Like, when people finally bug out to the exponent about what information is available online and social websites permanently and irrevocably come to life and fuck us all up. Then we'll live in another dark age. No internet, it's going to blow up.

I've been on Facebook since the summer between sophomore and junior year at Hamilton, 2003 I guess. A cute lil' U of Virginia girl I worked with at Explo told me about it and forced me to join. It was the first I'd heard of it - only certain schools were listed. It seemed to be a very college-oriented thing at the time and I was only in a Hamilton College network and couldn't do much outside of said network.

Now, don't I understand, just about anyone who searches for someone's name, Googles it, they get a Facebook profile high up on the results? And unless you protect yourself with your privacy settings, strangers, employers, co-workers, your mom, can see all your exploits and finer moments of existence. Grandma can look at you doing a keg stand. Bossman can check you barfing into a bowl next to your bed.

This only grazes the surface of a powerful internet force washing over all of us. So you join, cool, you start collecting friends by requests and requesting and suddenly, BAM!, you have 100 friends from high school and college. Some of these friends are your best friends on earth, and some of these friends absolutely work it out on Facebook. They're flooding you with Cause Invitations, Lil' Green Patches, and Group Membership Requests. But the worst grievance this friend abuses is the Status Update.

It feels almost like an insult to my intelligence that when I look at my home I'm asked "What are you doing right now?" with a little speech bubble coming out of my picture. Why do you want to know computer? You don't have a heart.

But I think this is the ultimate question for a certain generation raised on internet saturation. We have online identities that sometimes seem different from how I would describe or perceive some of my best friends. We present ourselves, or at least a set of words and images, on a designated space of the web, to the world. We want to seem smart and cool, right? Or is that just me? Anyway, some people clearly have no problem with filling up as much digital fart space as possible with painfully unnecessary updates on their life.

Oh, you're taking a nap, are you? Mmm, cool. You had a really tough day at the office? Sorry to hear that. Me too. You have to take a gigantic dump but you're really constipated? MAN! Aww gross, dude. I don't need to know about that business. Please. Who does? Why must we update each other multiple times a day with musings and chit chat about our lives? Because we're egomaniacs with multiple identities: a real life one, that we concoct through only visual and aural cues, and then however many identities you've cultivated in your spare time on the internet.

Gays have taken to it quite well, obviously. We use it as if we were in a tiny town in the middle of Iowa dying to meet another homosexual for the first time. Suddenly you have a veritable online shop of them. Peruse, poke, wink, wave, unlock private photos, message, mail or chat with all the pretty young things you can stand looking at.

But then you add them on Facebook and all your friends see that you're adding a bunch of gay-looking dudes in Philadelphia lately with the little press release that is issued to every single friend with every move you make. Which you're not so sure about but to make matters worse, to really dig the knife in deeper, even the cute ones you added, now you have to hear about how their pasta they had at the Restaurant was overcooked and disappointing. Waaanh. Or that they're feeling bloaty and going to the gym to do something about!. Please, sweetjesus.com, do something about this. Make it stop.

Wait, let me check that notification real quick.

Top Chef, too. Karla should've won.

I will miss you, Karla.

Yup, I watch American Idol.

She killed it:

A couple pieces of writing I just had published.

A review of the Sick Puppies' Dressed Up as Life on Mix Down.



A preview of Tom Jones at Terminal 5 in New York City for Flavorpill.

I got some cool records.

There's a place on Passyunk called the Beautiful World Syndicate (check their MySpace) that I like. They have a ton of old vinyl, $5 used CDs, DVDs, etc. It can be a lot of work looking through all the titles, sometimes pulling out vinyl one at a time because the bins are so full or they're under a table, but it pays off sometimes and you find a gem or three.

I got a Gang Starr record called Daily Operation from '92. So sick. It's got some of the best '90s hip hop songs to speak of: "The Place Where We Dwell," "Ex Girl to Next Girl," and "Take It Personal."

I also got some weird compilations on vinyl. I found Volume 2 of Super Disco Brake's, which I think is just songs that people sample. Here are the songs:

James Brown's "Funky Drummer"
Juice's "Catch a Groove"
Harlem Underground Band's "Smokin' Cheeba Cheeba"
Bill Withers' "Use Me"
Cymande's "Dove" (used by the Fugees on The Score)
Ann Winley's "Watch Dog"
Meters' "Sophisticated Cissy"

The real gem, though, is an LP called Breakdancing. That's it. No artist or anything. It's from 1984 and it reports to be based on the Avon book Breakdancing. Not only are there instructions between songs, there's a diagram sleeve that I have photographed and posted here. Here's that song lineup:

Malcolm McLaren and the World Famous Supreme Team's "Buffalo Gals"
Herbie Hancock's "Rockit"
Lisa-Lisa and Cult Jam with Full Force's "I Wonder If I Take You Home"
George Kranz's "Trommeltanz (Din Daa Daa)"
Run-D.M.C.'s "It's Like That"
John Rocca's "I Want It To Be Real"
Kid Savage and the Supreme Rockers' "Drive Me Crazy"
C-Bank's "One More Shot"
Grand Master Melle Mel and the Furious Five's "White Lines (Don't Do It)"
The Rocksteady Crew's "Hey You (The Rocksteady Crew)"

I'm excited and/or curious about these shows in Philadelphia.

Takers?

February:
Thurs., 5 - Black Keys (@ the Electric Factory)
Fri., 6 - The Pretenders (@ the Electric Factory)
Sun., 8 - The Pains of Being Pure at Heart (@ Kungfu Necktie)
Fri., 20 - M. Ward (@ the Troc)
Sat., 28 - Tapes n' Tapes (@ Johnny Brendas)

March:
Sun., 1 - Blitzen Trapper w/ Alela Diane (@ First Church)
Mon., 2 - Plants and Animals (@ Johnny Brendas)
Fri., 13 - The Feelies (@ Johnny Brendas)
Mon., 16 - Takka Takka (@ Kungfu Necktie)
Thurs., 19 - The Ting Tings (@ First Church)
Sat., 21 - Bloc Party (@ the Electric Factory)
Sun., 29 - Asobi Seksu (@ Johnny Brendas)

April:
Wed., 1 - Lady GaGa (@ the Electric Factory)
Fri., 3 - Dan Deacon (@ First Church)
Sat., 4 - Kool Keith as Dr. Octogon vs. Dr. Doom (@ Johnny Brendas)
Wed., 22 - Of Montreal (@ the Troc)

May:
Tues., 12 - Animal Collective (@ the Electric Factory)

I don't care what you try to say - she is fierce and talented.

I bought some things today.

On compact disc I bought:
Erykah Badu's "Baduism"
A Tribe Called Quest's "The Love Movement"
El-P's "I'll Sleep When You're Dead"
The Black Keys' "Attack and Release"
Spank Rock's "Yoyoyoyoyo"

And on vinyl:
TV on the Radio's "Dear Science"

Plus in print:
Magnet

Raphael Saadiq's "The Way I See It"

In "Doing What I Can," the opening track of Raphael Saadiq's proper solo debut, Instant Vintage, he gives you a taste of just what he's about to bring to the table: samples, stories, bass lines, strings, blues, joy and heaps upon heaps of soul. Journalist voices uttered in spun sound clips paint a brief biographical picture of this 42-year-old modern day Otis, Sam or Marvin. And yet, for some reason, this introduction is wholly necessary.

When enthusiasm is shared with strangers to his genius, it usually tends to go something like this:

"Raphael Saadiq?"

"Yeah. Well, he was in a group called Tony! TonI! Tone! Remember that song "Feels Good"? Ya know, it feeeels gooood. This is like early '90s."

"No."

"Orrr, he was in a group called Lucy Pearl with the lady from En Vogue. Their jam was called "Dance Tonight." I wanna daaannce tonight, I wanna toooaast tonight, I spend my money tonniiight. Dawn of 2000ish?"

"Still no."

"He produced that Joss Stone record."

"OH NICE! Love her."

No, you see, this man is a deeply talented creative force to be reckoned with in the 21st century. His creativity is inspiring and, although we've waited for something as substantially radical as Vintage (Ray Ray didn't quite floor people in 2004) for some time now, he has delivered another dense soul classic to be listened to, celebrated, sung along to, made love to and praised for years and generations to come.

Rarely does a musician come along who seems to embody something unique. A genre-defying artist who may be taking notes and inspiration from all kinds of influences (Gladys Knight and the Pips, A Tribe Called Quest, and Stevie Wonder to name a few) but has actually soaked it all up and spat out something beautifully different. He's also landed in a vague new genre on some kind of healthy kick with the likes of Adele, Duffy, Amy, and Alicia touting bygone R&B and getting some hefty sales out of it. Perhaps thanks to Amy's idiocy - just sayin'.

Raphael soars above these little girls and laughs a stoney, wizened chuckle. He's also produced and collaborated with some of their more substantial peers: TLC, D'Angelo, Kelis, Mary J., Jill and Erykah. He employs some heavy-hitters to guest on his latest particularly thrown back gospeldelic joint, The Way I See It. The Rebirth Brass Band adds another layer of old school funk to my favorite all-out jam on "Big Easy," Jay-Z doesn't ruin but re-envisions a sad but unduly solidly crafted track called "Oh Girl," and Joss Stone lends her smokey pipes to a joyous and triumphant "Just One Kiss."

But out there in the front with three happy, shiny gems of '50s-infused openers we get "Sure Hope You Mean It," "100 Yard Dash," and "Keep Marchin'." Standouts on their own, for sure, but like several others on this album, there's an undeniable groove. It's hard not to bob your head, snap your fingers and start shaking. They're happy, they vary in pace from mid-tempo to balls-out-boogie and it's impossible to think about much more than the way Mr. Saadiq sees it. The way he sees it, love is something to hold on to, life is something you can't let defeat you, good times are something to celebrate and a kiss is something to roll around in.

The achievement that is T.W.I.S.I. has not escaped a few critics and tastemakers. The record has garnered three Grammy nominations: Best R&B Album, Best Traditional R&B Performance for "Love That Girl," and Best R&B Performance by a Duo or Group with Vocals for his collaboration with Stevie Wonder on "Never Give You Up." Yes, Mr. Wonder. Fascinatingly, though, the legend does not croon a note, only breathes them to life with a harmonica. His presence is appreciated and classy on a deep-in-the-record sleeper song.

iTunes, which apparently has an Editorial Team, named The Way I See It their choice for 2008's Best Album. Those are some britches, Raphael. Please just keep on keepin' on your righteous soul path.

Some favorite Black Cab Sessions clips.

Have you seen this business on Black Cab Sessions?

One day I watched about 20 to 25 of these. I'd never seen it before. These were my favorites:

St. Vincent:


Spoon:


Cool Kids:


Fleet Foxes:


Jens Lekman: