Thursday, November 20, 2008

8 Questions With: Tally Hall

Following Friday's rousing set at Rehab, the Michigan based quintet dropped by The Rugby Store, where Jen got a chance to chat with Ross F. (percussionist) about a variety of topics.

1. What have you learned from being in the business?

Also, can you offer any advice to bands starting out?


It's really easy to get lost if you're caught up in too much of the "business" of everything. However, it's important to consider that of course, and to do everything you can to be active in promoting yourself and your music. The toughest part seems to be that the nature of the industry is such that things are always changing around, and the right move to make one month may be the wrong one the next. At that point, you need to just trust in the music you're making, and do what you really want to do. And if you succeed in that, the rest should fall into place.

2. How important is it for a band to come & play conferences like CMJ & SXSW?

Any opportunity to join in with your peers and perform, watch shows, converse, etc. it always a good. And there's no denying the fact that there are fun times to be had as well.

3. You were invited to play Lollapalooza this year which must have been amazing.

What is it like playing a festival that large?


It was certainly different than any other festivals we had played before. I was most impressed with how well coordinated everything was, and how well the festival was run in general. And of course it offered the opportunity to play for thousands of people who were all there because they wanted to spend their entire day enjoying music. I personally had a blast, got to talk to some artists that have been huge inspirations!

4. You recently made the move from Ann Arbor to New York. How are you finding it?

So far it has quickly become a very comfortable and exciting place to live and work on music. We found a great practice space that we enjoy spending time in and enjoy writing in, and what more could you ask for while embarking on your next album.

5. I've heard that you're currently writing your 2nd album. How is that going?

So far so good. I am confident that we will have a proud collection of songs to present.

6. Rugby likes to highlight different social action causes.

Do you have any special interest in a certain charity or cause?


It being almost election time, I should say I am always supportive of any organizations, bipartisan or otherwise, that move people to vote. It's tough sometimes when the electoral college system makes your vote seem meaningless, but everyone really should be making their voice heard. Our entire system of government is based on that fundamental principal, and we can't let laziness or apathy towards politics take anything away from that.

7. Tell me about your colors (each member has a different trademark tie which they wear at all gigs and in all press shots), how did that come about? Do you think it is important for a band to have a specific look?

The colors came up as a way to set ourselves apart from all of the other bands playing around campus. The idea of doing a little branding can go a long way in making your presence known. I don't necessarily think it's important that bands have a specific look, but something that people can refer to and say: "oh, it's the band that does this this this, or wears that". It can really help how well they remember you.

8. What was the highlight of CMJ 2008 for you?

For me it's really been the fact that so many of our friends our in town, be it bands or otherwise. It's nice that there was a reason for everyone to come in town the same weekend and play music together.

Visit Tally Hall on MySpace.

MP3: Tally Hall - Good Day

Tuesday, October 21, 2008

'Gossip Girl': the Music Grows Up -- OMFG!

In anticipation of this week's episode of Gossip Girl, I spent a few minutes surfing its music channel on YouTube, where the featured songs of each episode are posted along with a short description of the various scenes (e.g. "Chuck and Nate lounge in grass"). A great tool for finding music, the channel has the added bonus of making songs available Monday morning, so you can hear the vibe before you watch the show.

This week, Snow Patrol provide the obligatory party track. And the Virgins' "One Week of Danger" returns as Blair and Chuck's unofficial theme (first heard last season over flashbacks of the infamous limo scene).

But the three other tracks set an uncharacteristically brooding tone, from the Black Keys' banjo-tinged blues ("Psychotic Girl"), to Guillemots' eerily tortured "Sea Out," to White Apple Tree's "Snowflakes," an emotive electro-ballad that could be a sped-up version of Craig Armstrong's "This Love" (best known from its place on the Cruel Intentions movie soundtrack). These moody, down-tempo numbers -- a departure from the lively pop often featured on the show -- testify to the show's maturation from unadventurous radio-chaser to astute musical curator.

Gossip Girl's early episodes featured radio-friendly tracks from the likes of Rihanna, Sum 41, Joss Stone, and Will.i.am. But about halfway through the first season, ears in charge discovered the Virgins, a blasé, cynical, and distinctly Manhattanite band with a talent for pop hooks. The show featured all five songs from the band's self-released 2007 EP in the episode "Seventeen Candles," a full seven months before Atlantic released their official debut. While the Nelly Furtado and Vanessa Carlton returned in the following episode, Gossip Girl had made its first significant move towards branding itself as a musical tastemaker.

The final episodes of last season, and the six aired so far in season two, have featured buzz-heavy acts like Ting Tings, Santogold, Crystal Castles, and MGMT. And that's a good thing. But, as SPIN's Phoebe Reilly points out about the Nick and Nora's Infinite Playlist soundtrack, it's not enough for a song to be good, it also has to serve the emotional significance of an on-screen moment.

And that's something Gossip Girl still needs to improve on. Case in point: the show's new soundtrack album, OMFGG No. 1 (Original Music Featured on Gossip Girl, to be released next week). The collection rightly focuses on the less recognizable -- though no less catchy -- tracks from Season 1. But it also points out that many of these great tunes play during the show's impersonal montage sequences rather than its more emotionally memorable scenes.

Compare this to the Cruel Intentions movie soundtrack, one of my favorites. The intrigues-of-teen-aristocrats-in-New-York forebear to Gossip Girl splits its musical time between bouncing, scene-setting pop (Blur's "Coffee and TV," Placebo's "Every You Every Me") and tender, poignant ballads (Counting Crows' "Colorblind," and the above-mentioned "This Love") that highlight, and deepen, the characters' adolescent emotional vulnerability.

Tonight's featured Gossip Girl songs seem to take a step in the right direction, by alternating modish singles with affecting atmospheres (also introducing a reoccurring theme with the Virgins track, a great move in my opinion). Here's hoping that the show's music supervisors continue down this path, and that OMFGG No. 2 reflects that change.

Saturday, October 18, 2008

Allen Toussaint :: On Your Way Down

In continuuing with the sporadic New Orleans posts until Fat Tuesday here is the fourth installment in the series; the music of one Mr. Allen Toussaint. Like many fans I originally became acquainted with Toussaint's music in the late '90s through his production work with The Meters, Dr. John and the Nevilles. Upon further investigation it was no surprise Toussaint is super fly funky in his own right. Just listen.

Two of the songs below can be found on Toussaint's 1972 album, Life, Love And Faith, while "From A Whisper To A Scream" is off of his album of the same name. "Whisper" is also happens to be one of my favorite soul songs ever recorded -- the lyrics, mood and production make you believe the man's every word. I saw Toussaint live last July in the French Quarter with Elvis Costello -- you can read about that here.

Elsewhere: The class act that is the Home of The Groove blog has been profiling rare Toussaint tracks and covers the past month. Go dig 'em up,

Friday, September 5, 2008

Allen Toussaint :: On Your Way Down

In continuuing with the sporadic New Orleans posts until Fat Tuesday here is the fourth installment in the series; the music of one Mr. Allen Toussaint. Like many fans I originally became acquainted with Toussaint's music in the late '90s through his production work with The Meters, Dr. John and the Nevilles. Upon further investigation it was no surprise Toussaint is super fly funky in his own right. Just listen.

Two of the songs below can be found on Toussaint's 1972 album, Life, Love And Faith, while "From A Whisper To A Scream" is off of his album of the same name. "Whisper" is also happens to be one of my favorite soul songs ever recorded -- the lyrics, mood and production make you believe the man's every word. I saw Toussaint live last July in the French Quarter with Elvis Costello -- you can read about that here.

Elsewhere: The class act that is the Home of The Groove blog has been profiling rare Toussaint tracks and covers the past month. Go dig 'em up,

Tuesday, August 26, 2008

"Time" Tries To Rack Up The Pageviews With A List Of 10 Songs That A Writer Happened To Hear This Summer [Yay, Journalism!]

keepbleeding.jpgNot that I expect the lumbering newsmagazine Time to be cutting-edge or anything, but its oddly timed package "The Songs Of Summer 2008" sure does provide an argument in favor of the microcriticism service Blippr. The list, which is presented in the time-honored "listicle spread out over ten separate Web pages so as to maximize clicking" form, basically collects 10 songs that have nothing in common except for their having been played on commercial radio sometime this year. (Maybe even as early as February!) You'd think that a publication that fancied itself to be Web-savvy would have been all over some of these songs by now, but apparently Time's overlords need a few more day-late, dollar-short, annoyingly designed packages before they rethink their online culture strategy for the 48,627th time in the magazine's online existence. The mag's list of top songs after the jump.




1. Kid Rock - "All Summer Long"

2. Rihanna - "Disturbia"

3. Usher - "Love in This Club"

4. Estelle - "American Boy"

5. T.I. - "No Matter What"

6. Leona Lewis - "Bleeding Love"

7. Lil Wayne - "A Milli"

8. Pussycat Dolls - "When I Grow Up"

9. Coldplay - "Viva La Vida"

10. Katy Perry - "I Kissed a Girl"

"A Milli" and "I Kissed A Girl," sure. But "Love In This Club"—oh, you mean the song that hit No. 1 back in March? "Bleeding Love"—which also peaked in May? "When I Grow Up"—which sucks? I'm not even going to get into the part where the writer claims that "No Matter What" is underperforming because T.I. is still under house arrest and unable to do promo, since he might have been as confused by the midmorning scheduling of TRL—on which the MC appeared earlier this month—as I was at first. (And I don't really expect a Time writer to have 106 & Park on their TiVo season-pass list.)

The Songs Of Summer 2008 [Time; HT Rap-Up]






Saturday, August 23, 2008

Allen Toussaint :: On Your Way Down

In continuuing with the sporadic New Orleans posts until Fat Tuesday here is the fourth installment in the series; the music of one Mr. Allen Toussaint. Like many fans I originally became acquainted with Toussaint's music in the late '90s through his production work with The Meters, Dr. John and the Nevilles. Upon further investigation it was no surprise Toussaint is super fly funky in his own right. Just listen.

Two of the songs below can be found on Toussaint's 1972 album, Life, Love And Faith, while "From A Whisper To A Scream" is off of his album of the same name. "Whisper" is also happens to be one of my favorite soul songs ever recorded -- the lyrics, mood and production make you believe the man's every word. I saw Toussaint live last July in the French Quarter with Elvis Costello -- you can read about that here.

Elsewhere: The class act that is the Home of The Groove blog has been profiling rare Toussaint tracks and covers the past month. Go dig 'em up,

Thursday, August 21, 2008

"Fashion Rocks" Serves Up Anna Wintour's Vision Of A Music Magazine [Rock-critically Correct]

fashionrocks.jpgOnce again, we present Rock-Critically Correct, a feature in which the most recent issues of Rolling Stone, Blender, Vibe, and Spin are given a once-over by a writer who's contributed to many of those magazines, as well as a few others! In this installment, he looks at the Condé Nast-produced, music-centric one-off Fashion Rocks:







Let Your Boy get something out of the way immediately: the main reason he chose to assess this particular publication this week is simply that it is likely that many, many more Idolator readers will have access to it than the printed versions of the magazines he normally considers in this space.

Which is to say that Fashion Rocks was mailed in the last couple of weeks to subscribers of Vanity Fair (of which it is nominally a supplement), Wired, and probably a few other magazines published by Condé Nast. Which is also to say that Condé Nast succeeds in producing publications that bespeak heft and significance and thus are less expendable to readers who would otherwise forsake printed matter entirely for the options presented by the Device You Are Currently Gazing At. Discriminating readers... like you!

Like last year's Movies Rock, a supplement sent to GQ and Vanity Fair subscribers, Fashion Rocks is clearly intended to attract additional revenue from many of Condé Nast's advertisers and also pimp a TV special by the same name that will be broadcast on CBS on Sept. 9.

But unlike Movies Rock, this issue is produced under the auspices of Vogue. (Previous iterations were produced under the auspices of GQ.) Which is yet again to say that it's more than likely that editor-in-chief Jonathan Van Meter had very little leeway as to what sort of content would constitute the issue and essentially carried out the wishes of Anna Wintour, the editor of Vogue since 1988.

About the best thing YB can say about Ms. Wintour is that she demonstrated a previously disguised sense of humor about herself by attending a high-profile screening of a movie premised on the persistent perception that she is, frankly, a cunt. Unlike virtually every woman he's ever known, YB is not fascinated with Vogue, the instrument with which Ms. Wintour preys on the insecurities of women. Wintour has been so good at making females feel like they're worthless unless they spend money on material goods proffered by Vogue advertisers for so long that, in terms of the publishing milieu, she's indestructible.

And so she's charged with producing a one-off magazine that is intended to promote a television special that involves famous music figures. Fashion Rocks is best understood as how Ms. Wintour contends with music culture. This means that Justin Timberlake, a guy with no new music on the horizon but whose fashion imprint, William Rast, will put out its fall line next month, is an appropriate cover choice.

It is beyond doubt that Wintour is familiar with Timberlake. But had she heard of the Kills, who are profiled herein via an article entitled "Band of Outsiders"? The London duo certainly bears a certain Velvet-esque élan that stands them in stood stead with runway habitués, but there's one aspect that's sure to get Wintour's attention: Kills guitarist James Hince is Kate Moss' latest pale, leather jacket-clad stunt dick. If pint-size hesher icon Ronnie James Dio found himself as Moss' dragon-slayer (or fellow dragon chaser) du jour, then he'd be profiled herein, no questions asked.

Writers and personalities that are only vaguely in Wintour's orbit are called in for pieces that are each headlined with a startling lack of flair. In the issue's de facto introduction, "Sound and Fashion," longtime Village Voice fashion scribe Lynn Yeager explains that "music and style have always been in sync," an idea which doesn't need explaining; Joan Jett talks about her own style aesthetics in "Born to be Bad"; in "Dirty Pretty Thing," Liz Phair is described as "the rock equivalent of Carrie Bradshaw"; the part of ex-label honcho Danny Goldberg's mem-wah, Bumping into Genius, concerning Courtney love and "that dirty little man she married that the younger people think is so wonderful" is excerpted in "I Am Legend"; "Hearts of Darkness" explores "emo" culture now that designers have taken note of it; "Fine and Dandy" examines André Benjamin and his Benjamin Bixby line; and finally, in "Hit Man," profilee Mark Ronson, a DJ at several events that Ms. Wintour has surely attended, is described as the son of "socialite Ann Dexter-Jones" and incorrectly as the stepson of "the singer of Foreigner, Mick Jones."

Ultimately, the writing in the mag does not address the point of Fashion Rocks. But the photographs accompanying the articles cited in the previous paragraph are lensed by the likes of Terry Richardson and Steven Meisel. And a marquee photo package, featuring several performers that will probably drop out of the accompanying special by the time it's broadcast, involve the contributions of Meisel, Norman Jean Roy, and Jean-Baptiste Mondino. Pretty pictures, after all, are the point of Fashion Rocks and of any endeavor involving Ms. Wintour.

(YB should say that an essay appending Meisel's shot of Mariah Carey includes the single, solitary example of memorable, insightful scribbling in the entire issue, courtesy of Michael Joseph Gross: "...Carey is Long Island's answer to Dolly Parton, a woman whose bodacious bod and over-the-top style have distracted many people from her rare and substantial talent...Carey's aspiration to G4 style seems an effort to make up for her bridge-and-tunnel background." True dat, and thus it's the one of very few ways someone with that kind of background can matter to Ms. Wintour.)

So clearly, YB finds Fashion Rocks to be a fairly vile proposition. But one photo essay therein is particularly ghoulish, and is the other reason he chose to write about the mag.

"Here Comes the Son" finds Dhani Harrison sporting a mustache and styled in the manner associated with his father George in 1967-1968. He also cavorts with one Sasha Pivovarova, one of those Eastern European wraiths models that Wintour often employs. This young woman is clearly cast as Patti Boyd, the woman pere Harrison was married to in the late '60s and early '70s—although Harrison disingenuously describes her look in a caption as being based on Stones muse Anita Pallenberg. Dhani's mother is Olivia Arias, who no doubt is thrilled to not only see her son pantomiming his father, but to witness him hugging up to a representation of her husband's first wife.

Harrison's new band thenewno2's album apparently will be released soon. YB can only assume that young Harrison or someone (poorly) advising him believes the record faces nigh-unto-impenetrable barriers, since somebody in a relevant position thinks there's something to be gained by breaking the rule observed by all Beatles progeny: "I will not be judged based on my dad's legacy—or at least I will avoid the appearance of doing so."

But Van Meter quotes Harrison in his editor's letter as a way to justify this bizarre exercise: "It's very hard to take a step in any direction musically without referencing something The Beatles have done." Van Meter adds, "In every way, our ten-page layout with Dhani and Sasha perfectly captures what Fashion Rocks is all about."

Precisely. It all makes perfect sense and is very high concept to vampires like Ms. Wintour and her underlings.






Monday, August 18, 2008

A.C. Newman preps new solo album

Thanks to BV for the heads-up. AOL Spinner:
“Carl Newman is currently mixing his as-yet-untitled long-player - set for a January release - and is especially enthusiastic about the lineup of musicians who contribute to the new tunes. “My friend John Wurster, who drums with Superchunk and the Mountain Goats, did most of the drumming,” he [...]

Tuesday, August 12, 2008

New Okkervil River - "Lost Coastlines"

New Okkervil River -

When we evaluated The Stand-Ins, we highlighted "Lost Coastlines" as (a) a standout and (b) a continuation of The Stage Names's and the group's seafaring themes and metaphors via its discussion of the turbulent ups and downs (aka waves) facing a working band (aka Okkervil River). It's also "farewell" to the departed Jonathan Meiburg, who duets with Will Sheff, intoning about his voyage into Shearwater. The result is both poignant and rollicking. Much like the typical Stereogum office party.

Sunday, August 10, 2008

All Points West: Friday In Photos

It's time to brave the ferry lines for another day in Jersey, but first: pretty pictures via the eye of Abbey Braden. As mentioned, things got off to a slow start, but from thereon the day belonged to Gregg Gillis, "Born Slippy," and the talented Mr. Yorke. Time is tight, so we'll have more from the grounds tomorrow. For now enjoy some fan vid, shots of the consummate hipster dance party that is a Girl Talk fest set, Lovefoxxx's latest outfit, and a spread that will make you wish you could live inside Radiohead's stage show.

Thursday, August 7, 2008

Wolfmother Break Up

But the lead singer/fro man is going to keep using the name, so PHEW. More at NME.com.

Wednesday, August 6, 2008

New Germs Biopic Includes Fake Blood, Breakaway Glass

thumbnail: New Germs Biopic Includes Fake Blood, Breakaway Glass

As anyone who's listened to the music, done their Darby Crash research (he killed himself the night before Lennon was shot), watched The Decline of Western Civilization, or read Lexicon Devil knows, the Germs didn't fuck around. That said, it'll be interesting to see how the L.A. punk band's attitude and energy translates to the big screen in What We Do Is Secret. Judging from the trailer at least, we'll get a ton of broken glass, some fake blood, a few poignant moments, and a guy with a strange Rodney Bingenheimer wig. Really, if you changed the country, the wardrobe, and the vocalist's approach to self-destruction, it could very well by Control. Watch:

Friday, June 27, 2008

Bon Iver Makes The French Girls Smile

thumbnail: Bon Iver Makes The French Girls Smile

More from Justin Vernon's La Blog session, friends. The first spate of Take Aways was about as great as you'd expect when combining the series' cinematic stylings and Vernon's wounded croons (I especially enjoyed Vincent orbiting Justin and the other two Ivers during the reconstructed "Lump Sum"). Our friends at La Blogothèque, which is French for The Blogotheque, have posted Part 2 of their testament to Bon Iver's trip to Paris, switching the scene to an intimate apartment party in Montmartre. First up is a second take of "Flume" (which starts with Justin tease-covering the great "Olive Hearts" by old tourmates and fellow purveyors of earthen folk greatness, Bowerbirds) and then "Wolves (Acts I & II)" (always a crowd pleaser, always better live than on For Emma). But best of all is the set-closing "Skinny Love": Vincent takes the vantage point behind Justin, facing the party-goers, and for a few minutes we get to see what he sees every night -- a roomful of eyes lit up, drinking all they can about the guy.

Wednesday, June 18, 2008

Quit Your Day Job: Lau Nau

Unless you were born with one of those silver spoons, you likely work a day job, sneaking time for your own business when not taking care of someone else's. You're not alone. Brandon Stosuy finds out how our favorite indie artists make ends meet...

I'm a big fan of Finnish free-folk -- or whatever you want to call it -- especially the work of Laura Naukkarinen, aka Lau Nau. I was lucky enough to catch her, along with some of her scene comrades, live in Greenpoint three Augusts ago, where the already naturalist, uncluttered (though swarming) sounds were stripped to a purer state. Surprisingly, the music remained otherworldly, even when you saw how they crafted it. Lau Nau's 2005 full-length Kuutarha's a true overlooked gem you should seek out if you don't already own it. Same goes for her recent sophomore full-length Nukkuu. We posted the lopsided lullabies and bedroom psychedelics of Nukkuu opener "Lue Kartalta" at the beginning of last month. Following my discussion with Naukkarinen, you can find another standout -- the dreamy, bell-gonging "Rubiinilasia."

Laura's featured in Quit Your Day Job because she works as desk clerk at a town library on Kemiö Island ("We're on an island so the town is full of small fisher and farmer villages"), as a freelance translator of Spanish and Swedish, and organizes sound workshops for children with her "companion" Antti Tolvi, who I should add, makes his own great music in various guises.

Tuesday, June 17, 2008

Sex Pistols hint at new album after Isle of Wight appearance

Isle of Wight Festival 2008 headliners Sex Pistols have hinted that they are working on a new album.

Sunday, June 15, 2008

Bonnaroo: The Sun Exposes Kanye's Glow In The Dark Show

A month ago the NYTimes's Jon Pareles reviewed Kanye's Glow In The Dark tour stop at MSG saying "There is a new yardstick for the size of the universe. It is approximately equal to the size of Kanye West's ego." Yeah Kanye's ego's big -- making thousands of kids wait two hours later than an already incredibly scheduled 2:45AM start time is simply the latest lesson in Duh -- but no Jon Pareles, it is not the size of the universe. It isn't even the size of the sun. You know what's the size of the sun, guys? The fucking sun. And Kanye, it won't wait to rise so you can make sure the section of the stage where you do your sneaker-slide move is properly waxed. And when it rises, stuff no longer glows. And, it is no longer dark. I think I just successfully interviewed to be your new tour manager. You need one. Hire me.

OK, I feel better now. Thing is, I respect Kanye for trying to do something different with this tour. I get that he's a perfectionist, and was probably making sure the stage was perfectly constructed or something (that's the benefit of the doubt I gave him while I watched people collapse in drug seizures trying to stay up -- seriously). Maybe the mainstage was backed up 'cause Pearl Jam went a little late, they tend to do that. And all the cool visuals on the background screens, the inventive stage shape and use, the up-spits of flame, the song rearrangements, etc. all probably transform, and kill in, an enclosed space. Instead the only thing that died was the concept, in broad daylight (although "Good Morning" had a cool if unintended effect as the set opener at 4:40). A straight set of jams would have gone down a whole lot better.

That's not to say Ye didn't try -- he was totally invested in each dance move, every lyric, and all the sorta cringy interactions with Jane The Spaceship. And like seeing a band pour their heart out in the rain well past bedtime, of course I had a touch of that special recognition and who-gives-a-fuck-this-is-will-never-happen-again vibe that comes along with the memory in the making. That's why I just wish he could have deviated from the script, even for like 20 seconds, just at the end, to acknowledge the moment: "Thanks for staying up with me and watching the sunrise" would have been nice. We didn't even get a proper wave goodbye. I mean come on Kanye, I know not every word you speak up there is necessarily scripted.

Anyway Ye has a strict no photo policy, so I definitely did not take this with my iPhone at 5:25AM:


And all that said -- greeting the sunrise with "Good Life"? So, so awesome.

Saturday, June 14, 2008

Watch Radiohead cover Portishead

Radiohead have released a video of themselves covering Portishead's new single 'The Rip'.

Tuesday, June 10, 2008

Paul Johnson-Calderon Reports: Siberia, the Screening!

Recently I had the opportunity to see an advanced screening of Jack Bryan's new documentary Life After Dark: The Story of Siberia Bar. I was there, of course, because I -- along with best friend and partner in crime, Alexa Greenstadt -- star in the film as some of the many Siberia staples who are interviewed and filmed-in-action throughout. "Siberia was the last stronghold of the New York bohemia," says director, Bryan, of the now deceased dive. I never saw the original bar, which owner, Tracy Westmoreland (who once worked at Studio 54), opened in 1996. All I remember (or barely remember!!) is the freakshow carnival that resided on 40th and 9th, where I, along with Jack, Alexa, and the rest of our crew use to run to when Bungalow (and then Beatrice) would close at four in the morning. Cuties that can be seen in rare form throughout the film? Jules Kirby, Alexa Greenstadt, Charlotte Bocly, George Gurley, Moises de la Renta, Peter Smith, Kate Ryan, Austin Bryan and, of course, the Host with the most, Tracy. The screening was sponsored by Kipton Cronkite's KiptonArt and took place at the members-only SoHo House. Others at the screening included Sean Glass, actress Byrdie Bell, Nick Mele and writer Anisha Lakhani. I had the pleasure of speaking with both Jack and Kipton after the screening. Here's what they had to say for themselves: JACK BRYAN

Paul Johnson-Calderon: How and when did you become acquainted with Sibera?
Jack Bryan: I started going in late 2003 when my brother, George, brought me there. I didn't know what it was, but it was unlike anything I'd ever seen
before. I didn't know what it was called and forgot the address so it was a few weeks before I was able to find my way back, but when I did I became an instant regular. PJ-C: Of all the various Siberia characters, which you display in wide
variety in your film, who are some of your absolute favorites?
JB: Well Tracy, the owner, is a real character and one of my real reasons for starting the film. I like them all for different reasons: some are more informative some are more shocking, but the interview that cracks me up every time I see the movie is Guy Cimbalo's, a writer whose first novel is coming out later this year. But really I was lucky because everyone in the film is both insightful and hilarious which made my life a lot easier. PJ-C: When did you begin filming the documentary?
JB: In November of 2006 I left the bar at about 6 a.m. with my buddy, Nick Mele, to put him in a cab and he asked me what the story of the bar was. I told him and when I reached the curb I off handedly said it would make a good documentary. He agreed and a week later I was filming and he was co-producing it. PJ-C: Everyone I spoke with after the screening told me how much they loved it. How did you feel about the success of the two SoHo House screenings?
JB: I can't possibly explain how good that felt. I had been with the film for a year and a half and before that night and I was so close to it that I had no idea if it would go over at all. My associate producer, Anna-Karin Edelbrock, and post supervisor, Sean Glass, and I were working on it until hours before the screening, and still are in fact, so that was the first time we saw that cut all the way through. PJ-C: How were the "bootleg" screenings and where were they screened?
JB: They were a lot of fun. It was more after-party then screenings which made for an interesting dynamic. Half the party had seen it and most of them were on one side of the room and half hadn't and they were all crouched on my assistant editor's floor watching it projected onto a sheet. KIPTON CRONKITE

PJ-C: How do you know Jack Bryan, and what drew you to his documentary?
Kipton Cronkite: I met Jack through mutual friends, here in New York. I suppose I was attracted to Siberia for nostalgic reasons. Jack's documentary is a cross-section of late ‘80s/early ‘90s urban culture. At that time, there was a sort of self-gratifying anarchy penetrating the night world -- a feeling of social chaos. The documentary is really a reflection of the dramatic shift in popular culture over the last generation. I thought it would be an interesting (and fun) piece to show for the political and cultural references. PJ-C: Briefly describe KiptonArt's mission; what it seeks to accomplish.
KC: KiptonART is an art consultancy I started back in 2002 in an effort to support emerging artists who are trying to gain recognition in the mainstream art market. On a continual basis, we represent these artists’ work on the buying/selling front, organize exclusive events for them in private venues and exhibit their talents online. Fine arts is really the marrow of the company, but now we¹re really beginning to broaden our view and include other creative forms -- film, music, design, fashion. We’re launching a, music series this summer, which is really exciting. PJ-C: What did you think of the documentary and what are your thoughts on the success of the screenings?
KC: The personal commentaries were downright hilarious. I laughed out loud many times! In hindsight, I¹m thrilled we had so many people come out to support Jack and KiptonART. Siberia marked our third film event in six months, creating a solid foundation for more of these intimate screening events. PJ-C: What was your favorite part of the movie?
KC: Most of the anecdotes in the film were really colorful and funny, but I have to say George Gurley’s stories and wry sense of humor took the cake for me. Afterwards, a bunch of us headed to The Beatrice Inn for an impromptu, unofficial after-party for the successful screening. XxPJC
Source

New Ponytail Video - "Die Allman Bruder"

thumbnail: New Ponytail Video -

Spastic Baltimore art-pop crew (and art school security guards) Ponytail have been entertaining us with the longstanding, Walt Whitman sampling "Celebrate The Body Electric" for what seems like eons. It's still sounding great, but it is a relief to know the band's sophomore album Ice Cream Spiritual is finally out this month (via Yeasayer and Indian Jewelry home base, We*Are*Free). In anticipation, here's the rambling, psychedelic, green-screened video for another Ice Cream standout, "Die Allman Bruder." You won't need German to get the references: More like a working knowledge of Southern rock and a Molly Siegel translating dictionary.

New Cure - "Freakshow"

New Cure -

2 down, 2 to go. The Cure's monthly march of singles in anticipation of LP13 is well underway, and gets a new chapter today with "Freakshow." Halfway into this thing we can say it's not exactly a hit parade. It's a hit-or-miss parade. Now nobody's gonna say "The Only One" is groundbreaking, and that's because it isn't, but it brought to mind some of Robert's sorta upbeat and poppy, lovelorn jangle gems, and that's more than OK with us. "Freakshow" also is not groundbreaking, but it is a different sort of tune: different because it's a mildly funky, cowbell and shaker rocker, with lots of wah-wah guitars, and different because it could maybe have been written by a high school band? I mean, granted, one with a legendary voice (I'd sign them if I worked at a record lable and saw them at the talent show, if either of those were still a thing), but still -- that verse is just rote and plodding wah-funk. The hook has a moment, though. I know that's not a glowing endorsement, but still all this can be yours for a dollar at iTunes. If you want to try before you buy, sample it live:

Stream The Hold Steady's Stay Positive

thumbnail: Stream The Hold Steady's Stay Positive

We weighed in early and positively on the Hold Steady's Stay Positive. Since then, we've had more time to soak-up the lyrics, figure out interconnections, and chart continuing threads from earlier albums. At the end of the day, in the midst of this close listening, "Constructive Summer" remains a personal favorite, but "Yeah Sapphire" and "Magazines" have moved way up in the rankings, as have "Lord, I'm Discouraged" and "Slapped Actress." (The title track, i.e. the best nostalgia track in recent memory, goes without saying.) Part of our investigation included reading your Premature Evaluation comments, which was kinda like doing research at a Hold Steady-themed library. That said -- props in their proper place -- those of you who haven't heard the album in full can now stream the entire thing at the band's MySpace (thanks for the tip, Kim) and join in the discussion. Stay Positive (and the Hold Steady in general) are largely about community, scenes, people digging in and interacting in both good and bad ways, so take a listen and get thematic.

Meg White Resurfaces In Detroit

thumbnail: Meg White Resurfaces In Detroit

We reported in September that Meg White got stressed out and therefore skipped ACL. Since then, Jack's been seen around with Raconteurs (and Nick Zinner) quite a bit in support of Consolers Of The Lonely, but with no Meg in site. Last night at Detroit's Fillmore that changed. Billboard had a report earlier today:

Coming back from the encore break of the Raconteurs' concert at the Fillmore Detroit, Jack White was accompanied by ex-wife and White Stripes drummer Meg White, who sat at Patrick Keeler's kit and tapped on a few of the drums.

With the audience going nuts, thinking it was about to see a surprise performance by the Stripes, Jack shouted, "Hey everybody, this is Meg White!" -- after which she waved, got up and walked off the stage while the rest of the Raconteurs filed on for the encore.

That's been updated and clarified a bit.

Blue FixSim_112007