& my love for Pavement.
Yesterday I practiced with my friend's band and we covered "Cut Your Hair" (1994) by Pavement. It got me thinking about how they are still and indie rock cult classic nearly a decade after they disbanded. Beyond that, they are one of my favorite bands ever.
Why?
1. The impeccable, if often nonsensical, lyrics (i.e. "Lip balm on watery clay/ Relationships hey, hey hey.")
2. Stephen Malkmus's voice. With its unique timbre, imperfect pitch, and natural emotiveness, Malkmus carries the words without it ever seeming like he's trying too hard.
3. Talented Musicians. They have the ability to accentuate the tone and intent of each song. This includes a full range of guitar sounds and the always appropriate and complimentary percussion.
4. Their laid-back west coast cool.
5. The fact that they stayed on an indie label through their whole career.
Usually I am highly against the idea of any of my favorite bands getting back together because I think it ruins things. I am probably one of the only people who doesn't want to see a Smiths reunion. But I predict that Pavement will eventually reunite in some capacity and be just as cool as they always were. [And if you like prog rock feel free to check out Stephen Malkmus & the Jicks].
Links:
"Cut Your Hair"-
"Summer Babe" Live-
Sunday, December 7, 2008
Wednesday, November 5, 2008
the revolution will not be televised...
There was a change in me from the moment I stepped into Jonathan England's Intro to African American studies class nearly four years ago. I realized that African American studies was one of my life's passions, following on the heels of my hip-hop addiction and continuing interest in black culture. And yet the cynic in me did not think I would live to see a black president. Last night was, and will continue to be, one of the proudest moments of my life. It is a day that will live in my heart forever. It is a story I will tell my children and grandchildren as I teach them equality, progress, acceptance, and unity. All is not fixed by this great gesture, but with Barack Obama as the President of the United States there is an overwhelming feeling of hope.
As I walked into the jam-packed Bohemian Caverns on election night, there was a sense of positive but nervous energy. I got on the moon bounce, drank some Ciroc, and celebrated every time a state went blue. Then at about 11 PM, CNN projected Obama to be the winner. Everyone went wild, screaming and shrieking, and hugging. I was crying for civil rights, for human rights, for the hope that I didn't allow myself to have until the very moment it all happened. The streets were insanity, and it was a great great moment to be in our nation's capital.
Obama's acceptance speech was a powerful statement of what has and will be achieved. He spoke American spirit, and promise, an entity that pushes us forward and allows us to set aside our differences to become one. Causing sobs to escape my lungs he referenced Martin Luther King Jr. in saying:
So bump some old school jams and pour out a little liquor for those who passed before they could witness this. We are living a revolution. "Free at last! Free at last! Thank God Almighty, we are free at last!"
As I walked into the jam-packed Bohemian Caverns on election night, there was a sense of positive but nervous energy. I got on the moon bounce, drank some Ciroc, and celebrated every time a state went blue. Then at about 11 PM, CNN projected Obama to be the winner. Everyone went wild, screaming and shrieking, and hugging. I was crying for civil rights, for human rights, for the hope that I didn't allow myself to have until the very moment it all happened. The streets were insanity, and it was a great great moment to be in our nation's capital.
Obama's acceptance speech was a powerful statement of what has and will be achieved. He spoke American spirit, and promise, an entity that pushes us forward and allows us to set aside our differences to become one. Causing sobs to escape my lungs he referenced Martin Luther King Jr. in saying:
And it is that [American] promise that forty five years ago today, brought Americans from every corner of this land to stand together on a Mall in Washington, before Lincoln's Memorial, and hear a young preacher from Georgia speak of his dream. The men and women who gathered there could've heard many things. They could've heard words of anger and discord. They could've been told to succumb to the fear and frustration of so many dreams deferred. But what the people heard instead – people of every creed and color, from every walk of life – is that in America, our destiny is inextricably linked. That together, our dreams can be one. "We cannot walk alone," the preacher cried. "And as we walk, we must make the pledge that we shall always march ahead. We cannot turn back."
So bump some old school jams and pour out a little liquor for those who passed before they could witness this. We are living a revolution. "Free at last! Free at last! Thank God Almighty, we are free at last!"
Tuesday, September 23, 2008
hangin' on to you.
For various reasons, I have recently rediscovered my love of Fleetwood Mac. They aren't what I would normally listen to, but they were a staple at home growing up. I have always had a fascination with Stevie Nicks in particular and so I've decided to detail a couple of my favorite Fleetwood songs. I didn't pick the most popular or well known songs, but I picked those that are most aestetically pleasing to me at this time. Each of these songs have particular meaning in my life right now and happen to be written/performed by Nicks.
"I Don't Want to Know," Rumours (1977)
This song was written shortly after the dissolution of Nicks' relationship with fellow band member Lindsey Buckingham. It is easy to understand her perspective that even though things get crazy after a breakup, there is no real ill will between the parties. Future songs by both Nicks and Buckingham show a bit more animosity, but I love this song because it remains upbeat despite the adversity. Hand claps, jangly guitars, and tight harmonies define the tone. The catchy chorus brings it all together, saying, "I don't want to know the reasons why/ Love keeps right on walking down the line./ I dont want to stand between you and love,/ Honey, I just want you to feel fine."
"Gypsy," Mirage (1982)
With plucky guitars and a minimal but immaculate arrangement, the focus is kept on Nicks' haunting voice and lyrics. Gypsy has a very melancholic vibe to it, touching on loss, being alone, but also starting over. The repeating themes shown with the lyrics "And it all comes down to you,/ Well you know that it does,/ Well, lightning strikes...maybe once...maybe twice..." are clearly lamenting something, but leaving room for renewal. Nicks initially wanted to use this song for her solo debut, but it took on new meaning when her friend Robin Anderson died of Leukemia, and she kept it for Fleetwood Mac. The outro is an incredibly complex Lindsey Buckingham solo, which will probably hinder me in my quest to record a cover of this song.
Recommended Tracks From Stevie's First Solo Record- Bella Donna (1981):
"Stop Draggin' My Heart Around"
"Think About it"
"After the Glitter Fades"
"I Don't Want to Know," Rumours (1977)
This song was written shortly after the dissolution of Nicks' relationship with fellow band member Lindsey Buckingham. It is easy to understand her perspective that even though things get crazy after a breakup, there is no real ill will between the parties. Future songs by both Nicks and Buckingham show a bit more animosity, but I love this song because it remains upbeat despite the adversity. Hand claps, jangly guitars, and tight harmonies define the tone. The catchy chorus brings it all together, saying, "I don't want to know the reasons why/ Love keeps right on walking down the line./ I dont want to stand between you and love,/ Honey, I just want you to feel fine."
"Gypsy," Mirage (1982)
With plucky guitars and a minimal but immaculate arrangement, the focus is kept on Nicks' haunting voice and lyrics. Gypsy has a very melancholic vibe to it, touching on loss, being alone, but also starting over. The repeating themes shown with the lyrics "And it all comes down to you,/ Well you know that it does,/ Well, lightning strikes...maybe once...maybe twice..." are clearly lamenting something, but leaving room for renewal. Nicks initially wanted to use this song for her solo debut, but it took on new meaning when her friend Robin Anderson died of Leukemia, and she kept it for Fleetwood Mac. The outro is an incredibly complex Lindsey Buckingham solo, which will probably hinder me in my quest to record a cover of this song.
Recommended Tracks From Stevie's First Solo Record- Bella Donna (1981):
"Stop Draggin' My Heart Around"
"Think About it"
"After the Glitter Fades"
Monday, September 8, 2008
sweet girl.
My first weekend back in College Park, and hopefully working in the city for good, I knew I had to find something to do to counteract all of my prior downtime at home and the horrific job search. After two mediocre house parties and an advanced screening of Choke, there was the pièce de résistance: The Flying Eyes, Ringo Deathstarr, and 2 1/2 Teeth at WMUC radio station.
Now I have been curious about Ringo Deathstarr for a while and this is another a reason why being affiliated with WMUC really pays off. I got to see this band that intrigues me all for a $3-5 suggested donation. All I really knew about them going in was that I thoroughly enjoy listening to their EP. They had played DC the night before, but I hadn't been able to make it so I was really happy they put on another show. With near perfect timing, we arrived shortly after they took the stage.
In the small studio that is the liveroom, there was little separation between band and audience. The stylishly clad group banged, clanged, and sang away, the room reverberating with feedback, rhythm, and echo. Everyone was sweating, dancing, gazing, and even moshing. I came out with some new battlescars as well. The set was flawless and the band seemed taken with the crowd's involvement. They even hung around afterwards just chilling and speaking with the kids, all without an ounce of arrogance. I was so envious at how effortlessly they seemed to pull it all off.
Finally, what I found is that all of the Jesus & Mary Chain comparisons don't do either of the groups justice. Yes, I would consider Ringo Deathstarr to be shoegaze, but not in a purely traditional sense. They have taken a modern spin on the genre, and have made it their own. While they could sound like a mixture of Psychocandy and Loveless, that's so cliche and Ringo Deathstarr have their own sound and presence.
Now I have been curious about Ringo Deathstarr for a while and this is another a reason why being affiliated with WMUC really pays off. I got to see this band that intrigues me all for a $3-5 suggested donation. All I really knew about them going in was that I thoroughly enjoy listening to their EP. They had played DC the night before, but I hadn't been able to make it so I was really happy they put on another show. With near perfect timing, we arrived shortly after they took the stage.
In the small studio that is the liveroom, there was little separation between band and audience. The stylishly clad group banged, clanged, and sang away, the room reverberating with feedback, rhythm, and echo. Everyone was sweating, dancing, gazing, and even moshing. I came out with some new battlescars as well. The set was flawless and the band seemed taken with the crowd's involvement. They even hung around afterwards just chilling and speaking with the kids, all without an ounce of arrogance. I was so envious at how effortlessly they seemed to pull it all off.
Finally, what I found is that all of the Jesus & Mary Chain comparisons don't do either of the groups justice. Yes, I would consider Ringo Deathstarr to be shoegaze, but not in a purely traditional sense. They have taken a modern spin on the genre, and have made it their own. While they could sound like a mixture of Psychocandy and Loveless, that's so cliche and Ringo Deathstarr have their own sound and presence.
Sunday, August 24, 2008
on the radio.
Why listen to WMUC-FM College Park?
These days, free-form college radio stations are few and far between. Conversely, most commercial radio stations are owned by conglomerates who impose centralized narrow programming. The University of Maryland's station, WMUC-FM, brings something unique to the monotonous world of FM radio. WMUC is an independent, non-commercial, FCC-licensed, student-run radio station. It is also one of the country's oldest college stations, first airing in 1937. Students handle the programming and operations, allowing for a more eclectic selection. Because it is free-form, DJs are allowed to broadcast anything so long as the content adheres to FCC guidelines. This means that in a two-hour timeslot, a listener could hear metal, indie, dance, shoegaze, britpop, hip-hop, oldies, blues, bluegrass...etc etc. The audience can actually discover new music, and with a schedule online, listeners can pick and choose if they want to listen to something specific.
With several ways to listen, there's no reason not to check it out. If you're in or around College Park, tune in by turning to 88.1 on your FM dial. If not, get near a computer and stream online at http://wmucradio.com! So GET LISTENIN' KIDS!
Tired of hearing the same 10 tracks repeated over and over? Tired of the lack of genres represented on traditional radio? Head over to college radio for a welcome change.
These days, free-form college radio stations are few and far between. Conversely, most commercial radio stations are owned by conglomerates who impose centralized narrow programming. The University of Maryland's station, WMUC-FM, brings something unique to the monotonous world of FM radio. WMUC is an independent, non-commercial, FCC-licensed, student-run radio station. It is also one of the country's oldest college stations, first airing in 1937. Students handle the programming and operations, allowing for a more eclectic selection. Because it is free-form, DJs are allowed to broadcast anything so long as the content adheres to FCC guidelines. This means that in a two-hour timeslot, a listener could hear metal, indie, dance, shoegaze, britpop, hip-hop, oldies, blues, bluegrass...etc etc. The audience can actually discover new music, and with a schedule online, listeners can pick and choose if they want to listen to something specific.
With several ways to listen, there's no reason not to check it out. If you're in or around College Park, tune in by turning to 88.1 on your FM dial. If not, get near a computer and stream online at http://wmucradio.com! So GET LISTENIN' KIDS!
Thursday, August 21, 2008
Thursday, August 14, 2008
up in the club.
Laura's Top 5 DC Nightspots
5. Rock & Roll Hotel- Besides for the fact that it is extremely difficult to get to, i.e. requires a cab from the Union Station metro, I love the atmosphere at R&R. The upstairs has plenty of little rooms to escape off to and the downstairs has a large space for shows and congregating. My New Years there was crazy, with top shelf alcohol, champagne, DJs, naked sushi, Brightest Young Things, and the music of Georgie James. "Nouveau Riche" will pop off there the last Saturday of this month, so prepare for lots of sweaty bodies and awesome tunes.
4. Asylum- One word. SHORTS. Every second Thursday is Gavin Holland's patented "shorts-mandatory" dance party, where there isn't even a cover to get in. This is my favorite right now because all everyone really cares about is having fun. Featuring a ball pit and absinthe at the bar, and as always, a stellar Holland on the 1's & 2's. Seriously though, just don't try to wear pants.
3. Black Cat- Black Cat is nice because it is an 18+ facility for most events. It is free to get in to the bar, though shows cost [obviously]. This is a low-key venue with pool tables, mood lighting, and just the right amount or grimy to feel at home. From Voxtrot shows to The Smith's v. The Cure dance night, to Britpop dance night, Black Cat seems to have a little something for everyone.
2. Tattoo- This is really the only "non-indie" space on the list, and it is here for good reason. The atmosphere is of cool rock, with photos of tattooed folk scattered all around. It is an excuse to really dress up in heels and a little black dress and to wild out. Tattoo bar's Tuesday night is industry & lady friendly. It features free Chandon and vodka drinks for the females from 12 AM to 2 AM. There is no cover. The resident DJs play an assortment of music from hair metal, to hip-hop, to dance, to classics. Big screens show the music videos as the music is streaming, making it exciting and maybe even evoking nostalgia for the days of "Livin' on a Prayer". It is smaller and get a bit crowded, but their VIP balcony made for one of my best nights out ever.
1. DC9- Known as being the original home to "Nouveau Riche," one of my favorite DC dance parties, DC9 is an awesome location. It is not super huge or grand, but it gets the job done and everything I have attended there has been stellar. I highly recommend "Liberation Dance Party" every Friday night, which features an open bar from 9-10:30. As with Tattoo, music videos accompany the DJ's selections. Finally, DC9 has a unique text screen. If an individual texts to the specific number it will be broadcast to the whole audience. This led to hilarious and sometimes lewd comments, and hell, it even made Jason Ryan famous for a night!
5. Rock & Roll Hotel- Besides for the fact that it is extremely difficult to get to, i.e. requires a cab from the Union Station metro, I love the atmosphere at R&R. The upstairs has plenty of little rooms to escape off to and the downstairs has a large space for shows and congregating. My New Years there was crazy, with top shelf alcohol, champagne, DJs, naked sushi, Brightest Young Things, and the music of Georgie James. "Nouveau Riche" will pop off there the last Saturday of this month, so prepare for lots of sweaty bodies and awesome tunes.
4. Asylum- One word. SHORTS. Every second Thursday is Gavin Holland's patented "shorts-mandatory" dance party, where there isn't even a cover to get in. This is my favorite right now because all everyone really cares about is having fun. Featuring a ball pit and absinthe at the bar, and as always, a stellar Holland on the 1's & 2's. Seriously though, just don't try to wear pants.
3. Black Cat- Black Cat is nice because it is an 18+ facility for most events. It is free to get in to the bar, though shows cost [obviously]. This is a low-key venue with pool tables, mood lighting, and just the right amount or grimy to feel at home. From Voxtrot shows to The Smith's v. The Cure dance night, to Britpop dance night, Black Cat seems to have a little something for everyone.
2. Tattoo- This is really the only "non-indie" space on the list, and it is here for good reason. The atmosphere is of cool rock, with photos of tattooed folk scattered all around. It is an excuse to really dress up in heels and a little black dress and to wild out. Tattoo bar's Tuesday night is industry & lady friendly. It features free Chandon and vodka drinks for the females from 12 AM to 2 AM. There is no cover. The resident DJs play an assortment of music from hair metal, to hip-hop, to dance, to classics. Big screens show the music videos as the music is streaming, making it exciting and maybe even evoking nostalgia for the days of "Livin' on a Prayer". It is smaller and get a bit crowded, but their VIP balcony made for one of my best nights out ever.
1. DC9- Known as being the original home to "Nouveau Riche," one of my favorite DC dance parties, DC9 is an awesome location. It is not super huge or grand, but it gets the job done and everything I have attended there has been stellar. I highly recommend "Liberation Dance Party" every Friday night, which features an open bar from 9-10:30. As with Tattoo, music videos accompany the DJ's selections. Finally, DC9 has a unique text screen. If an individual texts to the specific number it will be broadcast to the whole audience. This led to hilarious and sometimes lewd comments, and hell, it even made Jason Ryan famous for a night!
Friday, August 8, 2008
let me ride.
What is it with all of these so-so rock bands thinking it is cool to incorporate elements of hip-hop into their songs and videos. Sure it is wonderful that hip-hop is really being accepted as a culture and that the tenets are recognized as true art, but come on. Back in 1986 when Run-D.M.C. and Aerosmith collaborated on "Walk This Way" this idea was revolutionary. I have yet to see any other rock acts that can pull it off, or they are slipping from my memory. Anyway, when mixing genres, care must be taken in order for it to come off as a real effort.
Rock bands borrowing from hip-hop probably wouldn't bother me that much if I liked the songs or if it was done as a tasteful homage to the art form, but the new videos from the Red Hot Chili Peppers and All Time Low are just plain tacky. Who wants to see Anthony Kiedis with an iced out grill and second rate video-ho's dancing around the band. There is even a scene where Kiedis is getting his hair braided a la Snoop Dogg. If the intent was to make me laugh, it worked, but it makes hip-hop seem hokey and it appears more like a Weird Al parody than a real song. In the case of All Time Low, an underage band singing about popping champagne in a song that sounds very emo, they decide to borrow the cheapest elements of hip-hop for their video. It ends up looking like some kind of a disaster, like hip-hop purged on the set of an emo fantasy. Perhaps these bands should stick to what they know and not denigrate hip-hop. As someone who takes her hip-hop very seriously, man, it's just plain annoying to see.
Rock bands borrowing from hip-hop probably wouldn't bother me that much if I liked the songs or if it was done as a tasteful homage to the art form, but the new videos from the Red Hot Chili Peppers and All Time Low are just plain tacky. Who wants to see Anthony Kiedis with an iced out grill and second rate video-ho's dancing around the band. There is even a scene where Kiedis is getting his hair braided a la Snoop Dogg. If the intent was to make me laugh, it worked, but it makes hip-hop seem hokey and it appears more like a Weird Al parody than a real song. In the case of All Time Low, an underage band singing about popping champagne in a song that sounds very emo, they decide to borrow the cheapest elements of hip-hop for their video. It ends up looking like some kind of a disaster, like hip-hop purged on the set of an emo fantasy. Perhaps these bands should stick to what they know and not denigrate hip-hop. As someone who takes her hip-hop very seriously, man, it's just plain annoying to see.
Wednesday, July 30, 2008
the mixed tape.
Making a mix cd is typically a complex art for me. I am torn between whether references are too obvious and whether the person I'm making the disc for will appreciate what I have to say with the music. I am not a great communicator, but I can give you an exact song for my emotions at the time. Below is the tracklisting for my end of summer mix 2008. It pinpoints the sadness of me leaving College Park for Carroll County and intertwines it with the happiness of me telling someone I'm glad we met.
1. the start of something- voxtrot
2. plastic hearts- dirty pretty things
3. here comes your man- pixies
4. bohemian like you- the dandy warhols
5. olympic airways- foals
6. kids- MGMT
7. summer babe- pavement
8. the d in detroit- the anniversary
9. the 15th- wire
10.and the washington monument blinks goodnight-q and not u
11. like a daydream- ride
12. hey boy- os mutantes
13. metal mickey- suede
14. st. pauli- art brut
15. after hours- we are scientists
16. happy when it rains- the jesus & mary chain
17. don't look back in anger- oasis
18. sedative- babyshambles
19. who'd of known- lily allen
1. the start of something- voxtrot
2. plastic hearts- dirty pretty things
3. here comes your man- pixies
4. bohemian like you- the dandy warhols
5. olympic airways- foals
6. kids- MGMT
7. summer babe- pavement
8. the d in detroit- the anniversary
9. the 15th- wire
10.and the washington monument blinks goodnight-q and not u
11. like a daydream- ride
12. hey boy- os mutantes
13. metal mickey- suede
14. st. pauli- art brut
15. after hours- we are scientists
16. happy when it rains- the jesus & mary chain
17. don't look back in anger- oasis
18. sedative- babyshambles
19. who'd of known- lily allen
Thursday, July 24, 2008
our singer.
My Favorite Voices:
Morrissey
Tip "T.I." Harris
Tupac Shakur
Brett Anderson
Ramesh Srivastava
Stephen Malkmus
Patrick Wolf
Morrissey
Tip "T.I." Harris
Tupac Shakur
Brett Anderson
Ramesh Srivastava
Stephen Malkmus
Patrick Wolf
Tuesday, July 8, 2008
hang the blessed dj.
I have a bone to pick with most of today's DJs. If your name is 100dBs, Diplo, Gavin Holland, or a member of FIVES, you are exempt from this story. If you are spinning at bars in College Park, top 40 and rap stations, or a swanky DC club then this is probably directed towards you.
Nowadays anyone and everyone with a laptop and a pair of headphones thinks that they can be a DJ. Last night on my friends car radio "live from FUR nightclub" there was a mash-up of "I Kissed a Girl" by Katy Perry and "Kiss Kiss" by Chris Brown. It was off-key and not beatmatched at all. It hurt my ears to listen to it. Lately, I have heard many such instances and think that this needs to be resolved. I am all for someone who wants to have fun and mix some songs together, but so-called professionals should know better. It makes me want to learn the ones and twos, or at least Ableton, so I can rep my set and put out something good to dance to.
For my show, RADIOBOLICAL! 8-10 PM Monday nights on WMUC-FM, I take the time to listen to what key my songs are in and make smooth transitions. I scour the internet for aesthetically pleasing music and put a lot of effort into my choices. If a playlist is meant to be played in sequence, the songs should actually go together, right?
Nowadays anyone and everyone with a laptop and a pair of headphones thinks that they can be a DJ. Last night on my friends car radio "live from FUR nightclub" there was a mash-up of "I Kissed a Girl" by Katy Perry and "Kiss Kiss" by Chris Brown. It was off-key and not beatmatched at all. It hurt my ears to listen to it. Lately, I have heard many such instances and think that this needs to be resolved. I am all for someone who wants to have fun and mix some songs together, but so-called professionals should know better. It makes me want to learn the ones and twos, or at least Ableton, so I can rep my set and put out something good to dance to.
For my show, RADIOBOLICAL! 8-10 PM Monday nights on WMUC-FM, I take the time to listen to what key my songs are in and make smooth transitions. I scour the internet for aesthetically pleasing music and put a lot of effort into my choices. If a playlist is meant to be played in sequence, the songs should actually go together, right?
Saturday, July 5, 2008
the start of something.
MY 5 FAVORITE SHOWS OF ALL TIME
5. Kanye West @ George Mason
4. Lily Allen @ 9:30 Club
3. Patrick Wolf @ Black Cat
2. Ghostface Killah @ 9:30 Club
1. Voxtrot @ Black Cat
FAVORITE DC BAND SHOWS
3. Vandaveer @ Black Cat
2. Georgie James @ Rock & Roll Hotel
1. Any Ra Ra Rasputin Show
5. Kanye West @ George Mason
4. Lily Allen @ 9:30 Club
3. Patrick Wolf @ Black Cat
2. Ghostface Killah @ 9:30 Club
1. Voxtrot @ Black Cat
FAVORITE DC BAND SHOWS
3. Vandaveer @ Black Cat
2. Georgie James @ Rock & Roll Hotel
1. Any Ra Ra Rasputin Show
Friday, July 4, 2008
first post.
I have wanted to participate in a music blog for a while now. At this time, it seems that creating my own is the best option. As a lifelong music lover, singer, scholar, and DJ, I have a vast expanse of knowledge crammed into my memory. My goals for this blog are to find new music and share it, to include interviews and information on existing bands, and to comment on and critique shows I have attended.
Over the years, my musical interest has grown to include the genres of indie, hip-hop, britpop, shoegaze, and much more. I hope to expand this hobby into a career and I am excited to contribute what I know and love. Please comment on any topics you are interested in hearing about or shows you would like for me to cover. In turn, I will keep you up to date with amazing music and what events I will be attending. I intend to focus specifically on DC, but also on the other music that I am passionate about.
Some Artists I am Interested In: 100dBs, Babyshambles, Black Kids, Blur, The Brian Jonestown Massacre, The Dandy Warhols, Dirty Pretty Things, Felt, Foals, Jack's Mannequin, The Jesus & Mary Chain, Joy Division, Kanye West, Kate Bush, Kate Nash, The Kooks, LCD Soundsystem, The Libertines, Lil' Wayne, Lily Allen, The Notorious B.I.G., Patrick Wolf, Pavement, Pixies, Pulp, The Smiths, Suede, Tip "T.I." Harris, Tupac Shakur, Voxtrot, Wire, The Wu-Tang Clan.
Over the years, my musical interest has grown to include the genres of indie, hip-hop, britpop, shoegaze, and much more. I hope to expand this hobby into a career and I am excited to contribute what I know and love. Please comment on any topics you are interested in hearing about or shows you would like for me to cover. In turn, I will keep you up to date with amazing music and what events I will be attending. I intend to focus specifically on DC, but also on the other music that I am passionate about.
Some Artists I am Interested In: 100dBs, Babyshambles, Black Kids, Blur, The Brian Jonestown Massacre, The Dandy Warhols, Dirty Pretty Things, Felt, Foals, Jack's Mannequin, The Jesus & Mary Chain, Joy Division, Kanye West, Kate Bush, Kate Nash, The Kooks, LCD Soundsystem, The Libertines, Lil' Wayne, Lily Allen, The Notorious B.I.G., Patrick Wolf, Pavement, Pixies, Pulp, The Smiths, Suede, Tip "T.I." Harris, Tupac Shakur, Voxtrot, Wire, The Wu-Tang Clan.
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