WFMU's Beware of the Blog

Time for Jaye P. Morgan To Come Out of Retirement

I knew my ability to tear a phone book in half was beloved amongst my family (well, at least one nephew who's over it now), but I was more than chuffed to find notification in my inbox today that the new Dave Attel-hosted Gong Show will be holding auditions in New York City, next Thursday, May 22nd. As Joe Franklin once said, there is great talent out there that is the true foam waiting to rise to the top. Surely we will all miss Chuck Barris being around to snort up that foam. And while I hope that there may not be another Oingo Boingo waiting to be discovered by the new Gong Show, I do hope for another Gloria Hunter:

Yogi Bear Abducted My Children!

Once nice thing about living in Brooklyn is that you're never quite sure what happen as you as you open the door in the morning. This is what greeted me earlier this week, and made me feel like I was living inside a certain terrifying kiddie film:

Is it really okay to bribe kids with cotton candy, fake superheros, hip hop, and a Sunday school that meets on Saturday? Should I have called the authorities? I also found it odd that they didn't mention the Christian religious aspect (the school is run by Bushwick-based Metro Ministries), and that they were trolling my mostly Hasidic neighborhood (Crown Heights).

Actually being at this school may be even more surreal, as it is the nation's biggest Bible Day Camp. Here's a sample of what goes on: jumpin' Jesus!

More Info on the Free Sonic Youth/Feelies July 4th Tickets

River To River, who in conjunction with Downtown Alliance are putting on the free July 4th Sonic Youth/Feelies concert at Battery Park (with special support from WFMU!) have now announced that you may sign up as of today for their email blasts on their R2R Wire page regarding all of their events. The bottom line, however, is that ticket reservations for this July 4th event are hitting on THURSDAY, JUNE 12th at 12:00 NOON at their site. Once your reservation is in, you'll be instructed on how to pick up your passes before July 4th. They are putting a limit of two tickets per person during this reservation process.

Meat Beat Manifested

Everyone has seen a live visual presentation (i.e. Shakespeare in the Park), and everyone has heard a live audio presentation (i.e. WFMU).  And most people have seen a TV show or a movie (i.e. Beavis and Butt-Head, Baby Mama).  Some people have even been told they're being treated to an audiovisual presentation (i.e. Dark Side of the Moon Laser Light Shows). Until last week, I didn't think anyone had made an live audiovisual presentation that really truly was aural and visual at the same time, together.  Then I saw Meat Beat Manifesto on Saturday at the Highline Ballroom.

Zillion-dollar budgets can give electronic music performers like Daft Punk and Kraftwerk an edge in creating visceral visual thrills at their concerts - you can't really do much more for a techno fan than have real robots playing a concert.  But Meat Beat Manifesto has taken a well-worn and considerably less expensive approach - collaging video behind the performers onstage - and taken it to a new zenith of accomplishment in that medium.

Meat Beat mastermind Jack Dangers and Mark Pistel from the political hardcore band Consolidated stood onstage controlling the otherworldly jungle-dubstep-trance beats and squiggles, and at the far right live drummer Lynn Farmer kept incredible pace throughout the entire performance.  On the far left stood Ben Stokes, the visual programmer for the show, who's worked with everyone from Ministry to Public Enemy to Levi's.  He grabbed video samples of Captain Beefheart, old BBC Radiophonic Workshop-esque explanations of sonic technology, Dali's eye-cutting nightmare, The Invaders, Sammy Davis Jr., Harrison Ford as President James Marshall in Air Force One, Star Trek, Billie Holiday, and even Animal, playing in tandem with a live feed of the drummer.

Unlike so many other video shows, clips didn't just sit lay flat and stuttery in the background.  They were accompanied by audio, and were layered over existing beats, scratched, stretched, and re-sampled in a way that fit in with the theme of the song - video of nuclear bomb blasts dropped to the beat, sounds and videos of Rastas burning weed edged their way into a drugs song (well, at least the one that referenced them the most overtly).  Dangers and Stokes were always working together in the audiovisual realm, as well - you could almost imagine the behind-the-scenes dialogue:  "Jack, I've found about 15 clips of people falling from the tops of buildings, can we work the sound of them screaming into the set?" or "Ben, could you work on finding a video of James Brown playing this one sample I use in this song?" Magic like that doesn't just pop out of a video mixer, or an audio mixer for that matter.

The most impressive part about the whole thing was Meat Beat's mastery in weaving overt political commentary into the show. 

Another WFMU Free Music Series Concert! The Ex with Gétatchèw Mèkurya, Either/Orchestra with Mahmoud Ahmed and Alèmayèhu Eshèté, Extra Golden: August 20th

(photo left: Konstantin's Flickr page)

When WFMU was first presented with the ability to put on some free NYC concerts via the New York State Music Fund grant, the obvious first notion was "who would we like to see in NYC that has never played before?" So we wound up the ball and sent the pitch over to Lincoln Center's Bill Bragin: how about Holland's greatest punk exports the Ex coming over (which they have in the past on many occasions), but this time bringing over some of their great international musician friends? The ones only Europe usually gets to see (or Ethiopia, if you happen to be there when the Ex make their fabled stops). We passed contacts to Lincoln Center, Terrie Ex got in touch with his fellow travelers, and then the ball was knocked outta the park in a severe way. The result? Lincoln Center's Out of Doors series in collaboration with WFMU's grant giving you all the chance to see the US debut of a major international collaboration for free at Lincoln Center/Damrosch Park Bandshell on West 62nd Street at Amsterdam in Manhattan, Wednesday, August 20th from 6-10 PM. Yes, free. No advance ticketing. On the bill:

The Ex with Gétatchèw Mèkurya (renowned Ethiopian saxophone legend), and if that weren't enough, Lincoln Center added two amazing East African/American collaborations to the bill: Either/Orchestra with Mahmoud Ahmed and Alèmayèhu Eshèté, plus Extra Golden.

If you're a fan of these artists, or Ethiopian/African sounds in general, you know this show is the event you've been waiting for. We've already spoken at length on the joys of WFMU aligning with the Ex in the past; they are among the most freeform and inspiring musicians and people we've had the fortune to experience live and on record. To hear them in full steamroller twin-guitar attack joined by the 73-year old Lion of Ethiopian saxophone is going to be a musical experience we're all gonna remember. More below on the entire fantastic bill (and don't forget the July 4th free Sonic Youth/Feelies show at Battery Park  WFMU is lending support to Downtown Alliance/River to River for!):

Ride The Cyclone!

Tenori-on: The New Instrument Marketing

At the risk of sounding like a salesman, I want to tell you about a promotional event that happened Wednesday night at Southpaw in Brooklyn, not because I'm particularly enchanted by what was being sold - I'm more in awe of the way the event was put together.  Yamaha hired a bunch of excellent experimental electronic musicians to sell its blinky handheld version of the future, the Tenori-on.  Robert Lippok of To Rococo Rot, Pole, I Am Robot and Proud, Sutekh, Safety Scissors and Nathan Michel were given one of the instruments a few weeks before the mini tour (NYC and San Francisco) began, and each created a set that was based on Tenori-on to some degree.  Here's what it looks like:

Robert Lippok, Sutekh, and Nathan Michel used the small but functionally expansive unit to create almost every aspect of their performances; the lights glow on both sides of the instrument, so while they programmed beats, melodies, and soundscapes on the fly the audience was able to see from the other side exactly which buttons were being pressed.

I Am Robot and Proud and Safety Scissors used the device sporadically throughout their performances, and Pole, who put on the most entrancing performance of the night, only seemed to be using Tenori-on a little bit, mostly to trigger the internal synthesizer sounds - they sounded kind of limp on top of the rest of his throbbing basslines and expansive reverb.

The middle of the set, though, was the real-deal pitch of the night: the creator, Toshio Iwai, took the stage for about an hour to describe in vivid detail how the Tenori-on evolved from concept to completion.  And it was a pitch straight from the heart, unlike anything I've ever witnessed.

The Drive-In Lives

Now that the Spring is finally springing, I've got a hankerin for two things.

One, is celebrating the final season of classic Coney Island. It should be noted that Coney has always been a place for change, it's just too bad we know live in an era where change becomes corporate homogenization. However, there is good news: though the parks themselves are being replaced, the Coney Island Freakshow and Coney Island Museum are getting bigger and better now that they own the building. Hooray!

The other outdoor activity that I can't live without is the Drive-In. Yes, it too is a dying beast, but a few hearty places live on. The best may well be the Starlight Drive-In in Atlanta. Not only do they host an annual Monster Bash and two day B-Movie marathon that makes a special road trip worth while, but they may possibly have the coolest concession stand on the planet.

That's just the tip of the iceberg. Check out more Starlight concession stand photos via Flickr user Zombophoto. (While you're there, take the time to look over his 8 Track Tape collection, and a house so jam-packed with cool collectible stuff that it might even make the Cramps jealous. Okay, maybe not - because they have a LOT of stuff.)

Last Night's Protest Against Varvatos

(pic left from Flickr page of Jeremoss). I for one have grown completely numb to the co-opting of cool culture for nefarious commercial means. If the Strangulated Beatoffs had a song appear in a McDonald's ad, I probably would not bat an eye at this juncture (though if they do decide to do this I sort of fear for humanity what the band would be doing with their check). So, while I am right onboard with everyone who feels that downtown's identity has been clomped over by the high-rent boutiques, wine bars and luxury condos, I can't really feel that the amount of creativity in the city has been scaled down, just sort of displaced (to places with varying degrees of accessibility). I was truly saddened by Tonic's demise, mainly because it was such a central hub of important activity for so many artists who are somewhat more scattered now, but I never got that weepy over CB's. The last show I saw there was the Chain Gang, a good couple years before it's closing, and I think I hadn't been there since 2000 before that. Hence, the fact that John Varvatos decided to buy the old CBGB space and turn it into a fancy retail outlet that happens to preserve the club's graffiti, stage, lights and postered icons amidst racks of $700 jeans isn't as appalling to me I guess as it is to all of last night's protesters down in the Bowery. The difference between 315 Bowery becoming this or a Starbucks is what seems to be really rubbing people the wrong way; I mean, if the current realty office that owns the old Pier Platters space in Hoboken decided to put a box of Flying Nun records on their reception counter I'd probably applaud them. Perhaps someone who has respect for the careers of Graeme and Peter Jefferies may be the kind of person I'd like to rent an apartment from, who knows. Regardless, I'm glad there's still a spirit of protest alive (who's headed down to the LES to get a slab of that Bruce Willis-as-roast pig effigy happening?), though I did get a laugh from a comment on Curbed, whether it be facetious or not (thanks Doron): "I can't wait to protest this abomination, I'll meet everyone at the Whole Foods on Houston at 8PM!"

WFMU Free Music Concert Series Continues: Sonic Youth + the Feelies at Battery Park July 4

We've been keeping it somewhat of a secret for a while, but you know, bloggers tend to get the scoop before anyone (even if they were off a couple miles by location), so the cat is out of the bag as of this week. Sonic Youth and the reunited Feelies are playing a free show in Battery Park on July 4th which is damn exciting alone, but also the show is being presented by the Downtown Alliance and River to River Festival, with special support from WFMU. We're totally psyched to be involved in this auspicious occasion (and especially glad that one of the bands on the bill happens to be one of the greatest New Jersey combos in history! Go New Jersey!) Besides having a set-up at the show, we'll also be giving away tickets (yeah we know it's free, but honestly, it's destined to be a capacity crowd) so tune in for further details. Our funding for WFMU's contribution towards this event has been culled from none other than the deposed Governor Spitzer himself, and this grant has not only paved the way for WFMU Free Music Archive project but also the two free-to-the-masses Southpaw shows we put on in 2007 (Major Stars / Flaming Fire / Jonathan Kane's February / DJ/Rupture, plus Oneida / Alan Vega  / Simply Saucer / Old Time Relijun). Right now, keep an eye on River To River's website, where you can sign up for R2R Wire ticket announcements (this sign up is supposed to be available to the public May 1st). This is our 2nd 50th Anniversary concert as well, with more in the works in 2008. Visual previews:

Sonic Youth "Incinerate" (live on Letterman)
The Feelies "Away" (live 1988 on Mouth To Mouth)

Jowe Head, Renaissance Man

I still occasionally (well, very occasionally) step out of my role as cubicle drone and Suburban Dad to make an artistic contribution to the world, and I'm pleased and proud to say that I'll be playing guitar for a series of performances this week with the great Jowe Head.

I first met Jowe by way of a live interview on my WFMU show in 1993, where I gave lame, super-casual interview (as was my "style" in the day) and Jowe proceeded to capsize the station's little wheezing chord organ, then rendering an impromptu performance of the song "Shiny Black Shirt," later immortalized on the Upsalapalooza compilation CD.  Jowe's mid-90s tours with the Television Personalities provided sweet entertainment and some post- and pre-gig opportunities for further socialization.  When the call came out in early 1996 to play a series of NYC shows with Jowe, I was more than ready.  I am eternally indebted to Hamish Kilgour and Lisa Siegel for this opportunity; a chance meeting with Hamish at WFMU's last record fair led to the current arrangement.  My long-time association with the station strikes again!

Jowe, as many of you know, was a founding member of the legendary Swell Maps (along with the brothers Epic Soundtracks and Nikki Sudden, sadly both no longer with us, and Richard Earl aka Bgls), blazing icons of the UK post-punk era, a "cross between Can and T.Rex" put simply, who created 2 brilliant studio LPS, a double LP of live sessions and jams, and several dynamite singles, all originally for the Rough Trade label (reissues and compilations available on Secretly Canadian, Alive, Munster and Overground.)  Jowe has gone on to front or contribute to a great many projects (The Palookas, Televison Personalities and The Househunters, to name only a few; Jowe currently fronts Angel Racing Food), as well as squeeze out a few unforgettable solo LPs, in particular 1986's Strawberry Deutsche Mark (tracks available on the Unhinged CD on Overground.)

Jowe's band this time consists of myself, Hamish Kilgour, Lisa Siegel and Danny Tunick, though the lineup will vary a bit from show to show.  Here are the dates:  a studio session for WFMU (interview with Jowe to air this Saturday, 4/12, recorded set to air in about 2 weeks, both on Terre T.'s Cherry Blossom Clinic), two nights at Cake Shop NYC (this Friday and Saturday, 4/11 and 4/12, 8 p.m. shows), Sunday 4/13 at Eat Records, 124 Meserole Ave., Brooklyn NY (5 p.m. show), and Friday 4/18 at Claude's Bar in Phoenicia, NY.  Also at Cake Shop, and The Arts Upstairs in Phoenicia, an exhibit of Jowe's artwork will be on display and available for purchase.

To further dangle the carrot, here are a few tracks on mp3 that should provide enhanced enticement to savor this very rare musical experience in the flesh:

Baby Bounce  |  Merman Blues  |  Swiss Air  |  The Palookas - Virginia's Wolf

April 1: We Get Listener Comments

(Yet more Joe Belock public defacement as of today hitting the left coast, photo Maria L.) Samples of WFMU playlist comments Tuesday:

"Is something wrong?"
"I thought Bryce was filling in (for Joe Belock) or something."
"When did the High School Sweethearts learn to sing in Finnish?"
"Is this a parody of the recent WNYE-KEXP arrangement?"
"Try something challenging for a change asshats!"
"If challenging means jazz, then, no,"
"Really, really lame joke. Jeez, what what was the point? To annoy the listeners? Why not just have pizzas delivered to everyone who pledged to the station?"
"The playlist is totally out of sequence today. Anyone else experiencing this?"
"Is it OK to leave notes here if I can only hear KVJC? I am confuzzed."
"The real KFJC show that's on right now sounds like a show for pill heads."
"Where is Eat Skull? KFJC would have played them by now."

Much love to our freeform brothers and sisters at KFJC in Los Altos Hills for our April 1st web/air switcheroo. Hope you enjoyed it, or on the other hand, forgive us both. Sometimes we just can't help ourselves.

Boredoms vs Cai Guo-Chiang Explosion

Japanese noise / punk / kraut / space / future rockers Boredoms played last night at Terminal 5, and it was absolutely amazing.  I wrote about their (also absolutely amazing)  77BOADRUM event in these pages this summer, but I think it's worthy to write about last night's concert because, well, every time they play is an...absolutely amazing and inspiring event.

Terminal 5 is a well-designed space, and the non-ground floors offer plenty of front-row rail access good for leaning over and catching the action below from.  But the spectacle last night pushed Terminal 5's (considerable) capacity to its limits.  Every floor was packed, and I stretched nudge muscles I didn't know I had trying to get a direct line of sight to see the band below. 

Every Boredoms concert is an explosive exploration of ideas in music, with lead Bore EYE literally turning everything we know about song structure inside out and puking it up in a perfectly-orchestrated space of time.  The sound itself is an exercise of controlled and beautiful explosions: at the beginning of each performance, Eye summons some sort of powerful otherworldy being into existence on the stage via two glowing orbs that he swings around in the midst of ecstatic shouts and song, creating miraculously glitchy lightning crashes.  Three drummers pound away cyclic and ever-changing rhythms that build and collapse on themselves, only to reveal more complex rhythms that you're surprised you didn't heard before.  The centerpiece of Boredoms' round stage is a disembowelment and re-construction of 7 purple guitars called the Sevena, built by Boredoms "sub-member" and DMBQ guy Masuko. Eye treats it as a percussion instrument, hitting it with a broomstick, using such force that it must be anchored in place by a steel crossbeam and two assistants to make sure the fucking thing doesn't topple over in the course of the performance.  Eye makes it his business to play the perfectly-tuned (and re-tuned, and re-tuned) strings off of the instrument, and when they finally walked off the stage, only a few strings remained - all but destroying the Sevena in the process.  A few minutes into the set as I watched Eye spazz out across the stage, I noticed - this guy is in a motherfucking CAST.  After seeing that, in a move I'll probably regret later, I took my earplugs OUT towards the end of the show to experience what was going on in a more direct manner.  I didn't need my eardrums anyway. 

I was reminded more and more as the night went on of the Cai Guo-Chiang exhibit currently on display at the Guggenheim. 
 

Photo: pocketmonsterd

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The Great Black Hope

It's a great time for fans of Black Metal.  Dozens of bands, new and old, are spattering off in dozens of new directions, revising and revitalizing the much-maligned stepchild child of metal.  As an adjunct to my post on Lugubrum and Silvester Anfang a few weeks ago, here are a few more great bands leading the charge to new era:

Drowning the Light
Drowning the Light is a great one-man Australian project that mixes the traditional lo-tech Black Metal sound with a mush of guitar euphony that's absolutely Kevin Shields-y, almost shoegazer in nature.  DtL are part of the "depressive" or "suicidal" movement in Black Metal, a subgenre that's brought mournful melodies and slower tempos to the forefront, rendered with a passionate intensity that's excited a lot of fans (myself included) in a manner reminiscent of the initial Norwegian explosion of the early-to-mid 1990s.  (Many of the depressive bands are quite good, and there are a lot of them, each with their own unique take on the sound:  Défaillance, Whisper, Leaden, Animus, Strid and Voluntaria are just a few of the great ones that I've heard recently.)  Drowning the Light often favor slow, circular rhythms, and chord progressions that churn along in a spaced-out, almost 50s ballad sort of way.  It's all in the ear of the beholder I suppose, but the cyclical repetitions of these songs, especially the longer tracks, are easy to get lost in.  DtL turned a corner into this interesting musical territory with four monumental full-length releases in 2007.  Of those, A World Long Dead, Of Celtic Blood & Satanic Pride and To the End of Time are my personal favorites, all sampled below.

The Haunted Ruins of a Vampyric Soul from A World Long Dead
In the Fallen Kingdom from To the End of Time
To the End of Time part II from Of Celtic Blood & Satanic Pride

Wolves in the Throne Room
Wolves in the Throne Room's newest disc, Two Hunters, was released in late 2007 on Southern Lord.  In underground Metal terms, this means you've officially arrived.  The label has both great distribution and a reputation for high quality.  WitTR are from Olympia, Washington, and have a much richer musical palette than your typical BM band, one that cements them into a larger pantheon of classic rock and heavy metal music.  This is not to say that they don't have more than enough hi-speed blast beat takeoffs to satisfy the fans, only that they weave in acoustic passages, keyboards, melodic female vocals and some slower tempos to great effect, the heavier side of their sound never losing its potency.  Their epic, suite-like songs, many clocking in at 12 minutes or longer, recall Sigur Ros or Dead Can Dance about a third as often as they do Enslaved or early Ulver.  Their band page at Encyclopedia Metallum describes their ideology as, "quite different from many Black Metal bands.  In interviews Wolves in the Throne Room have shown respect for left wing politics, radical environmentalism and "eco feminism.""  Ha!  Now that's progressive.  I've posted one track from 2006's Diadem of 12 Stars below.  Also included is a track from their 2004 self-titled demo, a great piece, which nonetheless gives only a glimpse of the focus and diversity to come on their more recent albums.

Face in a Night Time Mirror Part 1 from Diadem of 12 Stars
If This Dark Age Conquers We Will Leave This Echo from Wolves in the Throne Room demo 2004

Enablers | the Whitney Biennial | Neighborhood Public Radio

Last night I fulfilled one of my top seven life goals... which was to see a crazy rock band play in an abandoned storefront on Madison Avenue. OK, that's not really in the top seven, but seeing San Francisco's mighty Enablers perform an impromptu set sponsored by Neighborhood Public Radio and in conjunction with the Whitney Biennial was definitely one of the best and most unusual live events of recent memory.

Neighborhood Public Radio, or "NPR" as they rather hilariously refer to themselves, is an ongoing broadcast art project with roots in everybody's favorite left coast looney town of San Francisco. According to their website, NPR is "an independent, artist-run radio project committed to providing an alternative media platform for artists, activists, musicians, and community members". Since 2005, the folks turning the wheels behind the project have hosted thematic Web and Low Power FM broadcasts in numerous San Francisco art galleries, as well as at Chicago's Version 5 Festival, San Jose's Zero1 Fest, and at numerous points across Europe. NPR also boasts the curious honor of probably being the only entity to ever be featured in the Chicago Reader, Artforum, and Punk Planet. Talk about a trifecta of distinction.

Through some glorious twist of fate, NPR was invited to participate in the Whitney Biennial, which everyone ought to know is among the most widely anticipated and discussed exhibitions of new American art. The Biennial just opened a few days ago, and according to NPR's press release (which you can download here), their plan is to "install a broadcast point inside the Whitney museum, as well as transmit programming from another publicly accessible location in New York." (In this case, at the above referenced storefront at 941 Madison Avenue.) "It will also install remote studios in cities across the U.S., each sending live community radio programs to the New York hub". (Upon first tuning in yesterday afternoon, I was treated to a hypnotic solo recitation of the lyrics to "Goodbye to Love" which I later learned was originating live from one such "remote studio" in Chicago. I was able to capture part of the stream on my computer, and you can download the MP3 of it here).

Arriving shortly before 8 PM, I quickly said my hellos to my pals the Enablers, and after the most perfunctory soundcheck in history, (Soundman: "Play one loud note". Band: "BLHAAMMKKKTT!" Soundman: "OK, we're ready") the band proceeded to blow the doors off the small space crowded mostly by friends and onlookers who'd spilled over from the museum just a few doors down. If you've not heard the Enablers' music via their two brilliant albums on Neurot Records, I can say that their swarming musical tension definitely invokes a luridly appealing noir sensibility. The cinematic desperation of 4 AM phone calls and anxiously huffed cigarettes is vividly summoned through vocalist Pete Simonelli's disquieting poetry, as this MP3 of Enablers performing the song "And Last Night?" live on my show in 2005 demonstrates. [Download]

If you're looking to see a band at the top of their game this rainy weekend in NYC, do yourself the service of seeing Enablers tonight (Saturday) at the Luna Lounge in Brooklyn, or tomorrow (Sunday) at the Knitting Factory tap room. Be sure to pick up one of the tour-only 12"s they'll be hawking at the shows, which feature beautiful hand-silkscreened sleeves, and wish them well on their upcoming European tour.

Asinine Graffiti - Unicorns and Kid Touching

 

 

 

 

 

 

 

[left] Crack made unicorns extinct. Photo by Scott Emmer

[right] Al is a gay homo who like kid touching. Photo by Andy Steinitz

Grammatical Adventure on the E Train

If you saw a flyer boasting "Prostitution Reform" crumpled up on the floor of the E train, you'd pick it up, too. Dirt, footprints, grammatical errors, and a most confusing message... nothing could have provided more entertainment for Maria Levitsky and I, who giggled all the way home.

I challenge any of you grammar geeks out there to take a stab at this. Download the PDFs:  front  |  back

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Shox Lumania on TV 1982

I was surprised to do a google search on this NYC band and see mention of a live performance that aired on Pat Duncan's show in the 80's. Pat, reair that sucker! Or at least give us a fly-on-the-wall account?

I Owe My Life To Hugh Cornwell

No - he's not my dad or anything, jeez - that's my dad on the right. Hugh Cornwell was the lead vocalist & guitar player for The Stranglers for about 15 years; he now plays on his own or with bandmates he's more recently organized. The Stranglers was the band that really blew me away and prompted me to focus on music in my life from that point on. He played at the Blender Gramercy Theater last Saturday night, and I got the chance to tell him that I was glad he was alive. Don't start shedding any tears, kiddies..it just ain't like that...

Messer Chups in NYC

Toronto, it's a great city and one I have called my home for almost two years now, however, at times like these I wish I was in New York.

I don't normally promote shows online and consider myself to be terrible at promotion (or rather, just lazy at times). I don't even try to promote my own projects, but really wanted to share this upcoming show with readers of the blog.

Messer Chups (all the way from St. Petersburg) and End (from the WFMU neck of the woods) + DenimVenom, DJ Maxx E. Millionz and DJ J-Rock will be playing in Williamsburg on March 7th.

March 7, 2008
GALAPAGOS ART SPACE
70 North 6th Street,, Williamsburg, NY
Venue: http://galapagosartspace.com/
Show info: http://galapagosartspace.com/beyond.html#messer

Listen to MC and End on myspace,
http://www.myspace.com/messerchups
http://www.myspace.com/worldwentdown
do not fear, the band pages will not take three days to load or crash your browser like some other myspace band pages.

and catch Messer Chups on 2/27 at DROM in NYC

February 27, 2008
DROM
85 Ave. A, at E.6th St., NYC
Venue: http://www.dromnyc.com
Show Info: http://tinyurl.com/2vya69

Over and out!

This just in: RIP Smooth Jazz CD101.9

Today must be a sad day for NY-area lovers of that other Kenny G. (from the CD101.9 website):

Dear CD101.9 Smooth Jazz Listeners,

The staff of CD101.9 would like to thank you for your support over these past 20 years of Smooth Jazz CD101.9. Due to a declining audience for Smooth Jazz over the past few years, we are sad to announce that Smooth Jazz will no longer be available on the 101.9 signal. On February 5th we launched an innovative new adult rock format on the 101.9 frequency called 101.9 RXP The New York Rock Experience. 101.9 RXP is a respectful and intelligent mix of new music, classic rock and alternative - we invite you to try it. If you are solely a Smooth Jazz lover, "Smooth Jazz CD101.9" will continue to exist on our HD2 channel. Just purchase an HD capable radio and you will be able to listen to your favorite Smooth Jazz artists for free as always! CD1019.com will continue to provide you with upcoming smooth jazz events in association with the HD2 channel, and if you are a member of the CD101.9 Loyal Listener Club you will continue to receive e-mail updates. If you do not have an HD radio and are not a fan of Rock, we invite you to try 98.7 Kiss FM The Best Variety of Old School and Today's R&B as an alternative.  Listen to 98.7 Kiss FM for your chance to pick up tickets to the "Concert In Red" Valentine's concert at the Beacon Theatre February 14th. It's one of the many amazing shows coming in 2008 that you can find out about on 98.7 Kiss FM.

We hope that this note finds you sharing the same excitement that we feel!  We look forward to many more years of providing New York with Smooth Jazz in HD, and The New York Rock Experience on 101.9 RXP!

The switch takes place at 4 PM Eastern time...

Super Bowl MVP

I’m a Giants fan, and all season I’ve been defending Eli Manning to a football-watchin’ friend of mine from Philadelphia. This has not always been easy for me. When you see some of the shots of Eli, mouth-breathing and vacant-eyed, he looks kind of like one of those special-needs kids who has to wear a helmet to keep from hurting himself. But the Giants are my team, and Eli is my quarterback, for better or for worse. I finally got tired of my friend giving me a hard time—especially after that game with Minnesota, with the 4 interceptions for 3 TDs—and I just told him, “Quarterbacks are for sissy teams!” Then the Giants started winning on the road.

Yesterday they won the Super Bowl.

Sluggo and I watched it at our friends' party, and half-way through we switched to SAP--even though none of us speaks Spanish--just so we wouldn't have to listen to stupid Joe Buck and stupider Troy Aikman kissing Tom Brady's pretty butt.

Here is a joke I made up this morning. Pretend I’m “B” (for Bronwyn) and you be “D” (for Douche of the Week Fox Sports Guy):

B:  Knock knock!
D:  Who’s there?
B:  Tom Brady.
D:  Tom Brady who?
B:  EXACTLY!

The funny thing is, I didn't even realize what a huge upset the Giants had pulled off until I read all the game coverage afterward. I always thought they could do it.

Thanks for reading my blog post this time, and may God Bless the Mannings.

Weird World, Pt. 2

The Club makes you Tan.  Or does the Tan make you Club?

Via Barstool Sports.  More club shots available at a lot of places.  Thanks again, Mike.