Check another one off the list! Robert Earl Keen’s Gravitational Forces is finally on vinyl, thanks to Lost Highway’s 10th Anniversary vinyl reissue campaign. This sucker is packed with classics—covers by Townes Van Zandt, Johnny Cash, Terry Allen, and Joe Dolce’s “My Home Ain’t in the Hall of Fame” are fine pairings with Keen’s own originals, including the definitive recording of his brilliant storytelling epic, “The Road Goes on Forever.” (Other highlights on Lost Highway’s campaign include Ryan Adams’ Gold, O Brother Where Art Thou? and the surprisingly good Hank Williams tribute record, Timeless.)
Kreayshawn—the self-directing, self-editing, mega-inhaling personality from Oakland—signed to Columbia this week. If you haven’t seen “Gucci Gucci” yet, you might not know what this means. Check it out below, and then try to get it out of your head.
Kreayshawn came up in the hyphy craze, keeps good ties with Lil’ B from the Pack, and tweets with Mistah F.A.B. Though she’s in L.A. these days, hanging out with Odd Future and Soulja Boy, she still reps Oakland pretty hard wherever she goes.
It’s easy to be conflicted on Kreayshawn. Let’s face it, it’s been a while since there’s been a rising star out of the Bay Area, let alone Oakland. (Keyshia Cole’s got love for the city but moved the hell out, and when I asked her once in an interview what East Bay spots she like to hit up on tour, she couldn’t name any.) So it’s exciting to have some Bay Area action going on.
But . . . is “Gucci Gucci” really the face of Oaktown?
Behold, two girls fighting over who’s more hood!
“This chick @KREAYSHAWN is a rapper…yes. But hood? NO. She knows nothing about the streets she’s not half as hard as she comes off as,” tweets Harmony Gabriel, from Hustler and HBO’s Cathouse. “Makes me sick..maybe if she was some type of hustler or came from the streets or had some type of ambition but she’s trash to me. White chick acting hard throwing up gang signs from home made gangs…. #FAIL.”
Lest one doubt Harmony’s inherent hoodness, the credentials come forth:
“I got people in REAL hoods that can vouch for me I’m not hood now cause I GREW up I get big girl $ now but believe me I come from ‘hood.’”
This triggers Kreayshawn’s response:
“shut up with yor rants I’m from east Oakland u skanky.”
“Who’s hotter? Who’s the realest? @KREAYSHAWN or @HARMONYG? #ImJustSaying”
At this point, if you’re thinking it’s time for Kreayshawn to take the high road, you’re right.
“your a trip chicka I’m from east Oakland you can come visit my hood and tell me what you think… much luv anyways.”
None of this sits too well with Harmony Gabriel, unfortunately.
“@KREAYSHAWN Yea that’s all you got? Cause your mom happen to have you in east side oakland your hood!? Hahahaa!! Ask about me!! Buy my mags!”
Sensing unneeded drama, Kreayshawn then advises that she will “only reply to positive things from here on out,” and Harmony Gabriel, after reminding people “I sold pussy” and telling them to wait for her upcoming rap video, declares herself the victor: “the title is mine the crown is mine.”
And that, dear readers, is the hood battle of the day.
P.S. If you’ve been following the phenomenon of Kreayshawn, this excellent piece by Meaghan Garvey irons out a lot of conflicting feelings.
Zach Hill’s show last weekend in Sebastopol got its usual reviews of wankery, which is sad, because Hill’s shows are usually at least wankery of the highest order.
I’m guessing that Hill mighta had better luck in Sebastopol if he brought his Death Grips project, because OH MY GOD.
Free download of their album Ex-Military and more videos here. Block out the next half hour; you’ll be immersed in insanity. (Death Grips plays July 1 at 1015 Folsom in San Francsico.)
In a similar vein, Spank Rock, who brought electro to hip-hop in the marvelous album Yo Yo Yo Yo Yo Yo, is finally putting out a new record. What’s it called? Everything is Boring and Everyone is a Fucking Liar, that’s what. Guest star Big Freedia. I got big hopes.
One of the biggest influences in my listening, but one that I barely ever think about anymore, is The Bobs.
Right alongside Huey Lewis, the Pointer Sisters and Paul Carrack (yes, really), the Bobs serenaded my sisters and I on many a long family car trip on the Blaupunkt stereo—and live at the Luther Burbank Center. If you’ve never heard them, above is some vintage footage of “Art for Art’s Sake,” one of their more accessible tunes; most of their stuff, both lyrics and music, was far sillier. Imagine if Captain Beefheart and Monty Python started a band with no instruments, and titles like “Mopping, Mopping, Mopping” and “Bus Plunge.”
Lead madman Gunnar Madsen was the first to leave the band, and we Melines were a depressed lot over it. I’d hear about Madsen’s solo CDs from my Dad, who kept the Bobs torch aflame while the rest of us moved on, but I was about as interested in a solo CD from Gunnar Madsen as I’d have been in, say, a solo Dorothy Wiggin LP after she left the Shaggs.
So imagine my surprise when I’m reading today’s NYT review of The Shaggs: Philosophy of the World, a new off-Broadway musical production about the greatest horrible group from the 1960s, and there it is, fourth paragraph: “Music by Gunnar Madsen.”
It’s doubtful that a major record company will release the soundtrack to the Shaggs musical anytime soon, but my imagination can vouch for its importance. My curiosity, meanwhile, can vouch for Madsen sharing the Meline ennui upon leaving the Bobs. In his official bio, he outlines the era: “Life after The Bobs was miserable. I’d grown quite used to having hundreds of fans making me feel good one out of every three nights, and I had nothing to replace it. . . Life was not empty, but it felt like it. I was depressed and couldn’t find a way out. Things were dark.”
Ouch! Even in the seemingly carefree world of goofy a capella, the crush of despair hovers menacingly. Anyway, Gunnar Madsen, if you’ve got a Google Alert on your name, know that you’re not forgotten for enlivening the years 1985-1989, and glad you made it out of the dark pit. Congratulations on the Shaggs job, too—my ability to appreciate Philosophy of the World was likely planted, in one way or another, by your work with the Bobs in the first place.
Just like all those shitty mall record stores like Musicland and the Wherehouse died, leaving only awesome tiny independent record stores and horrible Best Buy behemoths; just like music videos shown on cable rotation died, leaving only YouTube and 3D megaplex screenings; and just like the middle class in America has died, leaving only the poors and the well-to-dos; so dies any middle ground when it comes to music formats. You can either have your oh-so-physical in the form of 12″x12″ LPs—which has always been my choice, petroleum and all—or you can have no physical object whatsoever in the form of an mp3.
This Monday’s anticipated announcement of Apple’s iCloud service goes even further: your music collection won’t even take up any hard drive space. You’ll have nothing except a tether to your files, floating somewhere. In 2005 terms, we call this “YouTube,” where nearly every song ever recorded resides. How to spiff up this non-material concept is something I’m sure Apple will handle with trademark skill, but what interests me is that for perhaps the first time in the history of the music industry, a major corporation is going to be spending millions of dollars convincing the American public to buy nothing at all.
I saw Roach Gigz a couple months ago at the Phoenix, and yes, he lit the place up. Opening for Too Short on a night that Too Short canceled, he had to hold the stage down on his own—and didn’t disappoint. (Half the people were there to see him instead of Too Short anyway, if you wanna know the truth of it.)
Roachy’s playing this Sunday at Los Caballos in Santa Rosa, and there’re three reasons to go. One: There’s no school or work the next day. Two: It’s billed as a “Stop Light Party,” i.e. wear red if you’re in a relationship, yellow if it’s complicated, and green if you’re single. Three: Los Caballos is one of the few places in town that’s all-ages but still serves drinks, with the aid of a barrier and a guy checking IDs.
Los Caballos also keeps a backline for the tejano and salsa bands that usually play there, so it’ll be pretty great to see Roach Gigz in front of the ‘Viva Mexico’ drum kit and stencils of Che Cuevara on the wall. Gigz, whose dad was a Sandinista, also has a strong Latino heritage; if you missed Rachel Dovey’s excellent Bohemian profile of him and his sidekick Remedy as they shot a video in San Francisco, read it here.
Tickets for the show are at the Last Record Store in Santa Rosa, University of Sports in Rohnert Park and World of Stereo in Petaluma. Don’t sleep, as they say. It’s bound to be packed.
Today marks a huge day! For over three years, City Sound Inertia has had the same plain, non-dynamic design, looking like a bag of Wonder Bread and featuring—bizarrely—an image of an accordion as its de facto logo. It worked as a container, yes. But it was more like a cardboard box than a Cadillac.
Behold, the new look. Beyond being much easier on the eyes, longtime readers will notice increased functionality, better formatting and an overall more readable experience, especially on their mobile devices. No more Wonder Bread, either.
I, for one, am thrilled with the long-overdue makeover, and have to tip my hat to Chris Ellis, Kara Brown, Ivan Bonilla Cortes, Kyu Kyung and Dan Pulcrano for making it happen. Feel free to let me know what you think in the comments.
Judah Nagler tends to spread himself out. Most of you know him from the Velvet Teen—and more recently, Odd Bird, and perhaps most inconspicuously, from his electronic project Atair. Did he really need to join another band? On drums, no less?
“Majid,” by Five Beats One, offers a resounding yes to the question. It wouldn’t be fair to call Five Beats One “Judah’s band,” though. The new band’s lineup also comprises Darwin Meiners, Derek Doss, and Mark Benanti, all well-known names in the area music scene from bands like Brothers Horse, Secret Courtesy—and, in the case of Benanti, a self-published book on classical guitar technique. What does it all sound like? Hear the clip below.
In a surprising twist that has just about everybody scratching their heads, longtime hard-rock radio station 101.7 FM The Fox has officially been pulled off the air.
According to a source close to the station, employees of the Fox found out about the change in a meeting at 11am today. Immediately afterward, the station went off the air at noon.
The replacement station, “Hot 101.7, Sonoma County’s Hit Music Station,” is currently playing Top 40 hits (as I type this, it’s Ke$ha’s “Tik Tok”). If listeners notice any resemblance to another local Top 40 station, it’s no coincidence. Maverick Media, the Fox’s parent company, recently conducted an audit through a third-party surveying company and found that among those polled, Top 40 is more appealing in this region than hard rock.
Said another source: “They hired this company that finds out what music works, and what music isn’t working, and they felt like in order to keep a competitive edge in the market, they needed to strong-arm the only station that didn’t have any competition.”
That station, Y 100.9, airs on a weaker signal in Sonoma County, and the Maverick Media executives at the meeting seemed confident that Hot 101.7 will be able to overpower the smaller station “out of business,” the source said. (Y 100.9 is owned by Sinclair Communications, which also owns 95.9 the KRSH and 96.7 BOB-FM.)
Hot 101.7′s new site declares: “We asked Sonoma County what they wanted from their favorite radio station. You told us you wanted a HOT station that played hit music with LOTS of music.” (As I type now, it’s the Black Eyed Peas, “Just Can’t Get Enough.”)
Public response so far has been predictably negative, with the new station’s Facebook page filled with “fans” who are making their voice clear: “What the HELL!!!!” writes a typical fan. “No more freaking pop stations!!! I want the old FOX back. Gimme my rock back. I am beyond sick to my stomach. UGH!!!!!!” Elsewhere on the station’s Facebook page, fans complain about having their posts removed by the administrator.
A page for “Fight Hot 101.7” has cropped up just today, along with an even bigger page called “Bring Back the Fox,” and a public protest is planned for Friday, March 25, at 4pm.
Without a doubt, this marks the end of an era for Sonoma County radio. For over 20 years, the Fox has been a Sonoma County standby, serving up classic hard rock like AC/DC and Metallica to more recent music from System of a Down, Disturbed and Velvet Revolver. About a month ago, longtime program director Scott Less left 101.7 the Fox for the Pacific Northwest, but apparently, even prior to Less’ departure, a “skeleton crew” had been running things with barely any financial support from Maverick Media.
Based in Connecticut, Maverick Media are the same people who thought it would be a good idea to fire Steve Jaxon, one of the greatest DJs in Sonoma County, and who aren’t available for comment (their website has been perpetually “under construction” for well over a year). Located over 3,000 miles from the station’s Fox Plaza, they’ve seemed perpetually out of touch with what Sonoma County actually wants, and have now killed the station that gave the building its name. (Right now, they’re playing Britney Spears, “Womanizer.”)
The employees of the Fox have been told that they’ll be able to keep their jobs, but in what capacity exactly is unclear. Currently, Hot 101.7 is broadcasting with no human DJs at all, playing canned tracks on a piped-in feed from corporate headquarters. Sad.
By now, chances are you’re one of the 100,000 people who today have ratcheted up a ton of views on the completely Bonkersville video for Rebecca Black, “Friday.” Where to begin? The way Autotune makes her pronounce the word “Fraah EE Daayee”? The existential question of which car seat to take? The segment in the bridge where it is very explicitly explained exactly where in the rotation of days of the week Friday falls?
See for yourself:
So yes, you are blown away. My friend Trevor puts it best: “It’s like everyone involved was given cat tranquilizers and then forced at gunpoint to make a video. The expression on her face when she’s saying the “fun fun fun fun” line is somewhere between ‘I’m saying “fun” but that word means something different on our world’ and ‘Help me I am being held hostage by Kim Jong Il and forced to do this.’”
Who the hell made this video?
The answer is Ark Music Factory, a Los Angeles-based company operating as an industry hybrid of Maurice Starr and John Bennett Ramsey. Their casting calls are perfect bait for starry-eyed parents: “If you are a great singer without any material and you want to get discovered,” one reads, “then Ark Music Factory is looking for you.” [It's now been removed; screen grab here.]
The formula is simple: They’ll fly your child between the specified ages of 13-17 to Los Angeles, write her a “hit,” record it in super-compressed Autotuned production, shoot an edge detection-overlay video and BAM! Maybe your kid can notch up a couple thousand YouTube views while you watch your dreams of being a pop-star parent percolate.
Ark Music Factory was launched last month by Patrice Wilson and Clarence Jey—pictured here with one of their pop stars-in-training, J’Rose. Clarence Jey has a MySpace with songs like “Nasty Boi” and “Party Like the Rich Kids.” The biggest name he’s worked with so far is Richie Kotzen, a guitar player from the 1980s hair-glam band Poison. He’s made a “chillax album,” and apparently has studied his Giorgio Moroder. He’s worked with girls as young as nine years old.
In fact, young girls seem to be Jey and Wilson’s preference, looking at Ark Music Factory’s roster. Here’s CJ Fam, a girl who usually sings at Ronald McDonald fundraisers and County Fairs, starring in “Five Days With Ark Music Factory.” It’s supposed be a commercial for Clarence Jey and Patrice Wilson’s company, but it just looks plain depressing, creepy and horrible:
Ark Music Factory obviously has put a lot of effort into promoting a girl from Madison named Kaya Rosenthal, whose “Can’t Get You Out of My Mind” video was heavily promoted but has already been surpassed in views by Rebecca Black’s “Friday” video since I started typing this post:
Kaya at least understands the music video game—she took part in this spoof of music videos—but most of Ark’s clients appear oblivious to the realities of the music industry. In the comments of another video filmed by Ark Music Factory’s in-house producers, Sarah Maugaotega’s friends ask questions like “howd you make this !?” and “amazing howd you do it?” Sarah’s probably the most natural-sounding and looking singer on Ark’s roster, and her official YouTube channel has only seven subscribers. Nevertheless, this video got made:
The Ark Music Factory video team of Chris Lowe and Ian Hotchkins has some pretty standard teenage boy-girl ideas revolving around breakups, like this video by Ashley Rose, or this dippy, semi-charming video by Britt Rutter…
…both of which trade pretty heavily in teenage tropes like texting and video chat. Then there’s the truly unexplainable videos, like “Crazy” by Darla Beaux, which shows the teenage singer in a straitjacket on a survelliance camera, interspersed with hipstamatic shots. Most of the others are just as formless in concept.
You’ve got to wonder: What if all these Ark Music Factory girls hung out together, for one night? What would happen? Would the space-time continuum rupture? Behold, the Ark Music Factory launch party, which has to be seen to be believed:
Now look—I’m not going to say that Jey or Wilson are pedophiles, like a lot of internet commenters are doing. That’s a really rash conclusion to reach with no evidence, especially when we all know that the music industry thrives on young girls. They’re just doing what every shuckster in L.A. is doing, with the knowledge that short shorts on skinny legs will never go out of style.
But I will point out that their company obviously needs a lot of money to rent Rolls-Royces; pay studio time; shoot videos and rent venues and musicians and soundmen for launch parties. That money ain’t coming from record sales or publishing royalties. It’s coming pretty obviously from rich parents, buying a chunk of the L.A. myth a few days at a time so their kids can brag about it at school and continue to inflate their own vanity.
Is it sad? That depends on your point of view. Is it hilarious that “Friday,” Ark Music Factory’s biggest hit, has gotten famous for being mercilessly made fun of on the internet? You bet it is.