Standing (Digi)Tall

Philadelphia Weekly
December 19, 2007

Opening Riff

By Joshua Valocchi

Standing (Digi)Tall

Since its inception in 1999, Ropeadope has been somewhat of a maverick among record labels. From the demonstrated propensity to sign unknown acts based on little more than the strength of a single live club set to mixing genres through unlikely artistic collaborations, they’ve never quite subscribed to the conventions set forth by industry wonks.

It’s no surprise, then, that Ropeadope’s venture into the depths of digital downloading brings some revolutionary concepts to the bargaining table. Launched in February with a core group of seven artists, Ropeadope Digital (www.ropeadope.com/digital) marks the first step in the label’s ultimate plan to become a completely digital operation. While the practice of offering exclusive mp3s is certainly nothing new, especially considering it’s the artist-friendly business model that sets Ropeadope apart from the pack.

Artists on Ropeadope Digital essentially retain all rights and ownership of their masters, signing over to the label only a short-term license for exclusive digital distribution. The length of that license is currently one year, during which time the label and the artist share an even split of all profits.

The project is proving to be an early success, offering established acts an easy way to get side projects off the ground in a quick fashion as well as presenting an ideal forum for distributing B-sides and select live cuts. Conversely, new acts benefit from the simple fact that the label is more likely to sign an unestablished band knowing that the lack of production expenses and advances leads to a pure profit situation for them.

Currently boasting an impressive stable of 20 artists, Ropeadope Digital is preparing to march into its first full calendar year of existence.

While it’s unlikely Ropeadope will completely forgo producing physical CDs and vinyl anytime soon—especially considering their more established clientele like DJ Logic and Dirty Dozen Brass Band—they continue to forge ahead, blazing a trail toward digital Valhalla. True to its name, Ropeadope always rolls with the punches.

Valley of the Dollies

Philadelphia Weekly
December 19, 2007

A-List

Valley of the Dollies
Wed., Dec. 19, 11pm. $1.99. Bob & Barbara’s, 1509 South St. 215.545.4511. www.dumpstaplayers.org

Continuing their storied tradition of rude and raucous rabble-rousing, the Dumpsta Players are back, getting all up in your grill with cautionary tales of Christmas toys gone bad. In Valley of the Dollies, the Players take on celebrity endorsements, cleverly weaving a seasonal theme into a naughty narrative that starts debauched and goes rapidly downhill thereafter. And yes, of course there are allusions to GHB-tainted toys from China and the drug-induced holiday-themed hallucinations they cause. The show also features visits from toys of Christmas past—including Strawberry Shitcake and the Lance Bass action figure. As in all Dumpsta productions, drag queens will run wild, chaos will ensue and inhibitions and social niceties will be left in the slush covered in reindeer hooves. (Joshua Valocchi)

Becker's Birthday Bash

Philadelphia Weekly
December 19, 2007

Live Music

Becker’s Birthday Bash
Thurs., Dec. 20, 9pm. $8. With Future Tips, Taggart, Late Night Television + Art DiFuria. North Star, 23rd and Poplar sts. 215.787.0488. www.northstarrocks.com

In the hierarchy of financially rewarding occupations, playing guitar in a local rock outfit ranks woefully low. But while rent checks bounce like frog eyeballs on a tile floor, local rockers still enjoy certain professional perks, like the unassailable certainty of a birthday celebration befitting a rock star, replete with requisite heapings of hooch and hedonism. Armed with such confidence, James Becker, who splits his time pulling six-string duty between Grammar Debate! and Taggart, should be in pretty high spirits (quite literally, in fact) this week. Pop in, have some cake and buy the man a beer. Presumably, the rent fund hat will be passed around between sets. (Joshua Valocchi)

Instrument Drive

December 19, 2007
The Spirit

The Fire and Intercultural Family Services Music and Mentorship Program’s Fifth Instrument Drive. Thurs., Dec. 20, 7pm. Free admission with instrument donation; $7 without. With Super Humble Country Band, Spinning Leaves, Great Unknown, Campbell Apartment. The Fire, 412 W. Girard Ave. 267.671.9298. www.iourecords.com/thefire/

Joshua Valocchi

“Without music, life would be a mistake.” While scholars’ opinions of Freidrich Nietzsche’s tenets are as wide-ranging as their interpretations of them, it’s pretty tough to misconstrue or argue against this one.

Isn’t it a bit strange, then, that a whopping 88 public schools in Philadelphia offer no music education at all, while many others have severely curtailed their curricula?

In a collaborative cross-city effort to bring music back to the children, West Philadelphia’s Intercultural Family Services Music and Mentorship program teams up with the folks at the Fire to present an instrument drive and concert.

Thursday’s event – which features a cocktail reception along with a performance by several of the very students who benefit from the program – is the fifth of its kind and has thus far met with great success thanks to strong community support.

Attendees are offered free admission to the show in exchange for a donation of a new or used musical instrument. Although it’s hard to believe that the majority of local households don’t have a long-forgotten guitar or dusty alto saxophone lurking somewhere in an attic loft or basement alcove, a seven dollar cover also guarantees a pass at the door, in lieu of a musicmaker. All proceeds from the door go directly to the Music and Mentorship programs – along with the instruments, of course.

On top of contributing to a worthy cause, audience members can also extract more than a modicum of pleasure from the knowledge that they’ll be serenaded by some of the city’s best up-and-coming music groups such as Spinning Leaves, Citizens Band Radio and the Great Unknown.

The biggest musical draw of the night, however, is the Super Humble Country Band (SHCB). Consisting of anywhere from eight to 18 musicians on any given night, the SHCB is comprised of members of several well-known Philly acts including Hezekiah Jones, Hoots & Hellmouth, papertrees and Andrew Lipke.

Playing almost strictly classic country covers, SHBC projects a love for all things Philadelphia as well as a deep respect for musical heritage. The instrument benefit marks the second-to-last Thursday night SHBC performance in the band’s December residency at the Fire. Don’t miss this one. Do it for the kids. Failing that, get selfish for once during the holiday season and just do it for yourself.

Although Neitzsche may have expertly encapsulated the horror of a musicless life, Harlan Howard conversely nailed down the beauty of one of its genres when he quipped, “country music is three chords and the truth.”

It’s time to testify.

Photos: Michelle Holshue

Weekend Dig! 12/14 - 12/16

DigPhilly
December 13, 2007

Weekend Dig! Dec. 14-16

By Joshua Valocchi

Posted: Dec 13, 2007 1:37 PM

Just because the weather outside is frightful, there’s no need to deny yourself something delightful this weekend.

As is usually the case – thanks to someone’s idea of a cruel joke – the weekend that promises to be absolutely miserable from a meteorological perspective is the same one that’s jam-packed with great concerts and groovealicious dance parties. Armed with the realization that even a light dusting of white stuff can create major distractions, here’s a brief rundown of can’t miss weekend picks. Remember – eyes on the prize, people.

Friday

Sharon Jones and the Dap-Kings

Dec. 14, 9 p.m. $15. With Budos Band.

Fillmore at the TLA, 334 South St. 215.922.1011.

Even though Friday stands tall as one of the biggest party nights of the year (Boys Noize at Making Time, Diplo and Blaqstarr at Fluid), this is STILL the easiest pick of the weekend. With all due respect to German electro-tech and the Dirty, Dirty South, nothing quite compares to what Sharon Jones and the Dap-Kings bring to the table.

Perhaps the ultimate purveyors of old-school funk and soul, the Dap-Kings act as the house band for New York's Daptone Records. Boasting an eight-piece lineup of unparalleled masters of vintage soul instrumentalists, they may very well be the hardest-working band in music today. In addition to their tenure as studio players and touring members of several acts in Daptone's stable, the Dap-Kings also lent their talents to DJ Mark Ronson's superb 2007 release, "Version" (Columbia), as well as logging studio and stage time with everybody's favorite queen of rehab, Amy Winehouse.

The Dap-Kings are all about preserving the sanctity of '60s soul. From sharp suits to choreographed moves performed in lock-step fashion amidst blaring brass and rumbling basslines, the Dap-Kings are consummate professionals on stage. Friday's show is billed as a "Super Soul Revue" and it's difficult to believe that Jones and the Dap-Kings will deliver anything less. Expect old-school style introductions of band members complete with grand entrances and solo fills.

And don’t go lunching on the openers, either. The 11-piece explosion of funky Afro-beat goodness that is the Budos Band is truly something to hear and behold. To paraphrase the words of another gang who knew a little something about funk themselves, ain't no party like a Daptone party 'cause a Daptone party don't stop.

Saturday

For the Kids

Dec. 15, 10 p.m. $5 w/ unwrapped toy / $10 without.

Khyber. 56 S. Second St. 215.238.5888.

Local peddlers of the underground steez, 215HipHop.com, catch the holiday spirit and use their strange and wonderful powers of production and persuasion to bring the peeps together for a good cause. For the Kids, a toy and cash fundraiser, mixes the hot beats and sharp lyrical skills of several of Philly’s top hip-hoppers with that warm and fuzzy feeling that comes with making the holiday season a little brighter for some less-fortunate kids out there.

All it takes is an unwrapped toy and a paper Lincoln to gain admittance to get down with one of the best lineups of local talent in recent memory. Outerspace have been flippin’ lids in the Illadelph for a decade now and Reef the Lost Cauze is about the best MC this city has to offer. How he isn’t a nationally recognized rapper by now remains a huge mystery. Toss in four DJs working as many decks and you’ve got one hell of a party on your hands.

If you can’t get out to your local Toys ‘R Us before the gig, don’t sweat it. Just cough up a ten spot at the door and the Khyber is your oyster. It’s all good either way, as all proceeds from the show go toward purchasing more toys for the cause. You know, for the kids.

Sunday

In Woody’s Words

Dec. 16, 11 a.m. $150-$200. With Jonatha Brook, Tom Paxton, Cathy Fink & Marcy Marxer, John Gorka, Chris Smither, Sara Lee Guthrie and Jonny Irion. World Café Live, 3025 Walnut St. 215.222.1400.

All tickets must be purchased through Philadelphia Folksong Society - call 215-247-1300.

After Friday’s soul shakedown party and Saturday’s big-hearted blowout, it might be time to turn things down a notch. As always, World Café Live steps up to the plate and delivers a made-to-order gig.

In Woody’s Words features the debut performances of “new” Woody Guthrie songs by several prominent folk musicians. The selections are comprised of lyrics from the Guthrie archives that Woody had yet to set to music before he died. Sunday’s performers, including John Gorka, Jonatha Brooke, Tom Paxton and Woody’s granddaughter, Sarah Lee Guthrie, married the found lyrics with original music, a la Wilco and Billy Bragg’s excellent Mermaid Avenue series. Woody’s daughter, Nora Guthrie , will be on hand as well to present a special movie about Woody and his contributions to America’s strong folk tradition. The event is tagged as a benefit celebration of the 50th anniversary of the Philadelphia Folksong Society, thus offering yet another chance to boost your karma through musical pursuits.

All in all, the cold doesn’t stand much of a chance. Between the Dap-Kings hot licks and the glow generated by so many charitable efforts, this weekend may turn out to be pretty damn warm and bright after all.

Lake Trout - Daily Dig! 12/13/07

DigPhilly
December 13, 2007

Thursday Dig: Lake Trout

By Joshua Valocchi

Posted: Dec 13, 2007 3:38 PM

Tonight North Star Bar hosts Lake Trout, the band that toured with the Flaming Lips this past September, for only $16 a pop. Go.

Lake Trout

Dec. 13, 9 p.m. $16. With Underwater + What Monsters.

North Star Bar, 2639 Poplar St. 215.684.0808.

For years, Baltimore’s Lake Trout toiled in the jamband circuit, playing shows and festival gigs in front of people who either failed to appreciate or didn’t understand their music. It was nobody’s fault, really. Lake Trout never set out to infiltrate the circuit. It just so happened that several solos featured on their 1997 debut were just bubbly enough to hook the attention of some Deadheads and Phish phans and, voila – suddenly Lake Trout was pigeonholed by circumstance.

As they made their bones on the rather lucrative jam circuit, Lake Trout continued to develop their sound, integrating hip-hop-inspired breakbeats to their heavily rock-leaning sound, eventually going full-on live drum ‘n’ bass, thus essentially driving the final nails into their own coffin – at least as far as that circuit was concerned.

As the law of averages would logically dictate, the band still managed to pry at least a small cadre of fans from the scene. Still, it was quite a shock to the system to see Lake Trout playing the bar circuit after years of rocking huge festival stages. Money matters aside, however, the switch certainly suited the quintet well.

In 2005, the band worked with legendary producer Dave Fridmann (Super Furry Animals, Mercury Rev), as they fleshed out the excellent “Not Them, You.” The influence of Fridmann – often referred to as the fifth Flaming Lip – is clearly evident, from the soaring near-orchestral soundscapes scattered throughout the album to their diligently utilitarian version of the Rolling Stones’ “Street Fightin’ Man.”

Not surprisingly, word of Fridmann’s association with the band eventually spread to Flaming Lips frontman Wayne Coyne. Coyne’s ever-increasing deferential attitude toward Fridmann’s choice of clientele led him (Coyne) to check out Lake Trout on his own. Liking what he heard, Coyne invited Lake Trout to tour with the Lips this past September.

Just like that, Lake Trout was playing the big stage again, but this time for a crowd that not only appreciated their music, but truly “got it.” The roller coaster ride continues at the North Star tonight. Even a band that comes highly recommended by the psych rock demi-god Coyne still faces an uphill battle to lure Philadelphians out to the Art Museum area on such a dreary night.

All things considered, this makes for the perfect opportunity to check out Lake Trout live. They haven't abandoned their old drum ‘n’ bass ways, choosing instead to weave new-found aspects around their old influences. Consequently, their once-trademark gut-rumbling basslines will be in full effect tonight with little to get in the way of sonic absorption. Beyond that, the band is still in the throes of creative evolution, ensuring that their live set consists of a delicious mish-mosh of influences and texture. A hint of “Bends”-era Radiohead may be followed with something more evocative of DJ Shadow’s “Endtroducing” before wrapping up with a breakbeat peppered trippy synth underneath a flute loop that sounds like, well, Lake Trout.

Tiger Lillies

Philadelphia Weekly
December 12, 2007

Editor's Picks

Music

Tiger Lillies
Wed., Dec. 12, 7pm. $25. With Our Hollow Earth by Geoff Sobelle and 
Bradford Trojan. Fillmore at the TLA, 334 South St. 215.922.1011. 
www.livenation.com

Trafficking in Brechtian cabaret sprinkled with dark humor and shocking lyrics, Tiger Lillies continue to shatter convention as they tour the world, garnering equal amounts of disdain and acclaim.

With songs like “Shoot Your Load,” “Rapist,” “Abort the Child” and “Jesus on the Windshield,” it’s almost inconceivable that the lily-livered dotards who make up the Grammy-nominating committee would go anywhere near a Lillies release.

Nonetheless, 2003’s The Gorey End found itself on the short-list of contenders for the Best Classical Crossover award. The presence of the highly touted Kronos Quartet doubtlessly increased the album’s viability, but even a Josh Groban appearance couldn’t bring the Tiger Lillies into the mainstream.

The cabaret play Our Hollow Earth kicks off an evening that might best be described as a cross between a 1920s Berlin and a traditional British pantomime, with extra “eccentricity, blasphemy and weirdness.” (Joshua Valocchi)

Human Light Winter Solstice Party

Philadelphia Weekly
December 12, 2007

A-List

spare crib
Human Light Winter Solstice Party
Sun., Dec. 16, 1pm. $25-$30. With Mel Lipman, String Theory + Martha Knox. Williamson Restaurant, 500 Blair Mill Rd., Horsham. 215.794.8548. www.hagp.org

One of the major downsides of atheism is the lack of seasonal invitations. Many Americans simply don’t want to party with folks who question the legitimacy of worshipping a Bronze Age desert god, or of hailing a zombie miracle worker as humanity’s savior.

Fear not, ye godless, the Humanist Association totally has your back. In what sounds like the real-life version of Seinfeld’s Festivus-for-the-rest-of-us, Sunday’s sensibilist shindig features a keynote address by American Humanist Association president Mel Lipman as well as the classical musical stylings of String Theory.

In an obvious attempt to discourage attendance by deranged worshippers of genocidal sky-gods, magician Arlen Zachary will turn some tricks as well. As anyone who followed the Christian backlash against Harry Potter knows, nothing strikes terror in the hearts of a zombie-humper more than a real miracle worker. Shazam! (Joshua Valocchi)

Sharon Jones + the Dap Kings

December 12, 2007

The Spirit

Sharon Jones and the Dap-Kings

Fri., Dec. 14, 9pm. $15. With Budos Band. Fillmore at the TLA, 334 South St. 215.922.1011. www.livenation.com

Joshua Valocchi

Sharon Jones and the Dap-Kings

Fri., Dec. 14, 9pm. $15. With Budos Band. Fillmore at the TLA, 334 South St. 215.922.1011. www.livenation.com

Joshua Valocchi

Making an all-too-rare Philadelphia appearance, Sharon Jones and the Dap-Kings bring their classic soul revue to the TLA this weekend as the headlining act of a rousing funktasic double bill with the inimitable Budos Band.

Originally formed as the Soul Providers in the mid-1990s, today’s Dap-Kings act as the house band for New York’s Daptone Records. Boasting an eight-piece lineup of unparalleled masters of vintage soul instrumentalists, the Dap-Kings may very well be the hardest-working band in music today. In addition to their tenure as studio players and touring members of several acts in Daptone’s stable, the Dap-Kings also lent their talents to DJ Mark Ronson’s superb 2007 release, “Version” (Columbia), as well as logging time with everybody’s favorite queen of rehab, Amy Winehouse. Not only did the band appear on several tracks on Winehouse’s critically acclaimed and Grammy nominated 2006 blockbuster, “Back to Black” (Island), they also accompanied Winehouse on her first U.S. tour.

Although their association with Winehouse undoubtedly did wonders to raise the Dap-Kings’ profile among mainstream music fans, their work with Jones – both in the studio and on the road – allows the band myriad opportunities to flex their musical muscles in the heart of their comfort zone. Jones, a vocal vixen with incredible range, belts out soul and funk numbers with Aretha-esque conviction. A perfect example of the “real deal” in a field jam-packed with pretenders, Jones stands out as a valid contender for Franklin’s “Queen of Soul” title.

Increasing the authenticity of the Dap-Kings’ profile as detail-obsessed purists, every title issued under the Daptone banner is recorded on traditional analog equipment. This antiquated practice is performed in strict adherence to the label’s devotion to producing a sound that evokes comparisons to soul’s golden age of the late 1960s and early 1970s.

The results are nothing short of astounding. While many tech-obsessed engineers and producers regard the employment of a 16-track analog tape machine as an ill-advised step backwards in recording protocol, the manner in which the finished products perfectly captures the essence of a bygone era stands as testament to the method’s effectiveness.

Apparently not content to merely rely upon recording techniques to promote a more genuine product, the Dap-Kings keep it real with their choice of instruments as well. With few exceptions, all instruments featured on Daptone recordings as well as those played on Daptone related stage shows are meticulously preserved relics of the past, with most pieces dating back to the mid –1960s and earlier.

The crowning detail of the Dap-Kings dedication to preserving the sanctity of ‘60s soul lies in their overly impressive showmanship. From sharp matching suits to the choreographed moves performed in lock-step fashion amidst blaring brass and rumbling basslines, the Dap-Kings are consummate professionals on stage. Friday’s show is billed as a “Super Soul Revue” and it’s difficult to believe that Jones and the Dap-Kings will deliver anything less. Expect old-school style introductions of band members complete with grand entrances and solo fills.

Funk, R&B and soul are clearly more than genre tags to these guys – they’re a way of life, bringing with them the requisite customs, practices and mores espoused by all those who paved the way for the Dap-Kings. The reverence shared among bandmembers for all that is sacred in soul music is palpable when they’re tearing it up on stage.

The addition of the 11-piece Afrobeat orchestra Budos Band to this bill pushes Friday’s gig perilously close to epic territory. Put on your dancin’ shoes and get ready to be funked out to death. To paraphrase the words of another gang who knew a little something about funk themselves, ain’t no party like a Daptone party ‘cause a Daptone party don’t stop.

Photos: Dulce Pinzon

Doug Wallen - Daily Dig! 12/11/07

DigPhilly
December 11, 2007

Tuesday Dig: Cold, Cold Heart

Created By: Joshua Valocchi

Posted: Dec 11, 2007 3:15 PM

Basically, this little shindig is wrapped in an excuse-proof skin. Most of you probably live in Fishtown anyway. If not, there’s a good chance you’re couch-surfing there. It’s a Tuesday, thus highly unlikely that you have anything better to do.

DJ Doug Wallen
Tuesday Dec. 11, 9 p.m. Free.

Atlantis: The Lost Bar, 2442 Frankford Ave. (corner of Frankford and Hagert)

Disclaimer: While Atlantis: The Lost bar may technically own a Kensington address, it’s all Fishtown these days, isn’t it?

Even though a fellow Philly blogger recently postulated that Fishtown’s population is now evenly split between hipsters and obese children, it still stands to reason that while the body count of individuals on either side of the divide may be in a dead heat, the fat kids still hold the edge in mass. Think about it – how much meat could possibly be stuffed into those skinny black jeans that have been all the rage amongst the scenesters since, oh, I don’t know, the late ‘90s? And don’t even get me started on the toothpicks with tits that crowd the dives, the Barbary and any other place that features a never-ending supply of Pabst Blue Ribbon.

Nonetheless, in a thinly-veiled effort to tip the scales, local freelance music scribe, sometimes-DJ and all-around Captain Awesome in civvies, Doug Wallen, plays pied piper tonight, luring music snobs and irony whores alike to Atlantis: The Lost Bar. Armed with a slew of psych, country and old pop on vinyl, Wallen bares his cold, cold heart to the masses as the liquor flows and the fancy feet fly all over Fishtown’s little bar that could.

Considering Wallen’s indisputable status as the consummate country gentlemen, you can rest assured that his definition of country music has absolutely nothing in common with the garbage spewed all over the commercial airwaves. It’s safe to assume that when Wallen threatens to spin country tracks, each and every one passes muster on the Hank authenticity scale. In other words, don’t expect anything from Mr. Williams, Jr. nor the paltry excuse for rockabilly that Williams III is passing off as genuine biker and Bettie Page fare.

As far as the psych goes, Wallen is one of the city’s foremost authorities on the genre, so no worries there, either. Old pop is invariably awesome so that one’s pretty much a non-issue.

Wallen has exquisite taste when it comes to music and even recent pillagings of his vinyl stacks to generate funds to keep his Aussie wife draped in furs and awash in bling did little to diminish his impressive collection. Oh, and there’s an aquarium behind the bar. If that doesn’t clinch it, I guess nothing ever will.

So grab your spurs and Stetson and head out to Atlantis tonight to share in some country love. Hell, if you really want to stay true to the theme, grab your brother, sister or cousin as well. Regardless, Fishtown is calling. Please heed her cry and don’t make her wait much longer. She’s an impatient muse and the fat kids are really getting on her last nerve.

Weekly Dig! Dec. 11-13th

DigPhilly
December 11, 2007

Weekly Dig! Dec. 11-13

Created By: Joshua Valocchi

Posted: Dec 11, 2007 12:42 PM

As the holidays approach and Old Man Winter finally gathers enough gumption to raise an admittedly shaky middle finger to global warming, Philly’s nightlife scene heats up to near-NYC levels, if just for a short spell.

Considering the dampening effect that carpenter’s birthday has on the city’s social life every year, now is the time to get out, get buzzed and get down before the crippling crush of commercialism shames all of us back into our little burrows to store up enough energy and saintly patience to deal with the amateur extravaganza that defines New Year’s Eve.

In fact, why not vow to take matters into your own hands, grab the city by the short ones this week and celebrate the passing of another miserable year a few weeks early? Not only would such a measure confuse the hell out of your friends and family (always fun), but it could be the first shot fired in the war on social mediocrity. Instead of settling on playing dodge the cigar with the frat boys in Old City to ring in 2008, rewrite the rules with no concern for convention.

People, we need to take the power back:

Tuesday

Skeme Richards: Marvelous Shit

9 p.m. Free.

Walnut Room, 1709 Walnut St. 215.751.0201

What better way to commemorate the age-old practice of knowingly spreading bald-faced lies to, of and about yourself in the form of “resolutions” than dancing into such a frenzy that you forget – at least for a moment – that you truly are your own worst enemy? Local product and esteemed member of the world famous Rock Steady Crew, Skeme Richards is one more in a growing list of Philly DJs garnering serious international cred.

Marvelous Shit, Richards’ weekly throwdown at the Walnut Room, offers b-boys and b-girls alike the perfect opportunity to share a hometown hang with a world-class crate-digger and plate-spinner. Featuring rare grooves, vintage soul cuts and hot hip-hop breaks, Richards’ sets are enough to ply even the staunchest of wallflowers out of the background and on to the dance floor. In fact, if every night in ’08 comes fully equipped with a Skeme Richards soundtrack, perhaps we’ll all be able to ignore the fact that we’re ass-deep in an unwinnable war and just dance, dance, dance. Maybe that’s how W gets by … minus the dancing, hopefully. That’s just an entirely unpleasant mental image.

Wednesday

Tiger Lillies

7 p.m. $25. With “Our Hollow Earth” by Geoff Sobele and Bradford Trojan.

Fillmore at the TLA, 334 South St. 215.922.1011.

Because nothing says happy new year like gypsy cabaret, the Tiger Lillies stand at the ready to serenade you into 2008 with class. Crooning ditties with such adorably season-appropriate titles as Shoot Your Load, Rapist, Abort the Child, and Jesus on the Windshield, the Brechtian-inspired trio combine inventive theatrics and inspired musicianship to create a stunning spectacle of a show. In fact, even the troupe’s unapologetic bawdiness wasn’t enough of an obstacle to prevent the traditionally namby-pamby members of the Grammy nominating committee from officially recognizing their efforts with a nod in 2003, placing the Lillies on the short list for the “Best Classical Crossover” award.

Besides, aren’t we all just a little sick of that “Auld Lang Syne” bullshit? Clearly “In My Hearse” or “The Story of the Man That Went Out Shooting” would make fine replacements for that decrepit chestnut.

Thursday

Drake

8 p.m. $10. With Electric City, Zigmat, Downtown Harvest + Monica McIntyre.

Tritone, 1508 South St. 215.545.0475

Expertly bridging the gap between jazz and experimental breakbeats, Drake’s self-described “sophisticated modern music” is a welcome reprieve from the staid and rigid constraints of traditional jazz. Integrating a classically-trained cellist into drum ‘n’ bass-tinged jazz stylings, Drake manage to strike a balance among several genres without collapsing into unstructured chaos.

The local quintet formed three years ago through Temple’s Jazz Studies program. Since then, they’ve crisscrossed the city, establishing themselves as one of the more daring groups on the Philly scene. Not afraid to blur the lines between hip hop and jazz, Drake have no problems keepin’ the heads noddin’ and the fingers snappin’ – even long after that gaudy ball touches down in Times Square. Perhaps the 13th is the new 31st after all.

Grammar Debate - Daily Dig! 12/6/07

DigPhilly
December 6, 2007

Thursday Dig: Grammar Debate!

Created By: Joshua Valocchi

Posted: Dec 06, 2007 2:25 PM

Updated: Dec 06, 2007 2:51 PM

Local power pop purveyors Grammar Debate! (GD!) cart their jangly indie rock sensibilities out to Fairmount Thursday night as part of a four-band blowout at the North Star Bar.

Grammar Debate!

Thurs., Dec. 6, 7 p.m. $10. All ages. With Kaufmann, John Ralston + Modern Skirts.

North Star Bar, 27th and Poplar streets. 215.787.0488.

Locals in the truest sense – all six GD! members call Philly home, with three hanging their hats in Fishtown – the band find themselves enjoying the afterglow resonating from the success of their first full-length, Cheetah vs. Helicopter (Surreal), released this past spring. Joining Fishtown’s favorite sons (and daughters) on tonight’s bill are the Athens, Ga. based Modern Skirts; Vagrant Records’ newest find, John Ralston; and the dreamily aggressive Kaufman.

Although GD! find themselves filling the early slot, their combination of Crackeresque lo-fi twang and blatant odes to the perfect pop that peppered early Psychedelic Furs offerings promises to get the party started right.

In fact, it’s not much of a stretch to presume that regardless of what comes after GD!’s opening set, the crowd leaving the North Star in the wee hours of Friday morning will exit the bar humming tunes from Cheetah vs. Helicopter, even going so far as to subconsciously employ said tunes as synthetic lullabies as they drift off into the ether.

Just two years into their tenure as Philly popsters, GD! seem to have already mastered the art of implanting a tune in listeners’ heads with near-surgical precision and flicking the soft-repeat setting before stealing away, leaving nary a trace of their initial presence. They manage their signature brand of sonic sorcery through the employment of several age-old but delicate techniques. Most impressive is the manner in which band members strike the perfect balance between male and female vocals in intricate harmony.

The beauty of GD!’s vocal patterns, however, lies not in their complexity, but rather in their deceptive simplicity. To hear keyboardist/violinist Carolynne McNeel’s angelic voice entwine itself with frontman Joe Lekkas’ lyrics, one would be hard-pressed to imagine the vocal tracking requiring more than one or two takes. Much like Pet Sounds-era Beach Boys, though, GD! clearly spend more than a little time and effort on crafting heavenly harmonics.

Interestingly enough, the kids in GD! aren’t satisfied with achieving virtual pop perfection and leaving matters well enough alone. Even as they prepare for this evening’s performance, the band members are hard at work on their second release, Broken Heart Deluxe, tentatively slated for a spring ’08 release. According to Lekkas, the follow up to Cheetah vs. Helicopter isn’t apt to foster any tendencies of pigeonholing GD! into a niche market.

“It will be a departure from our Guided by Voices-meets-Death Cab for Cutie guitar based indie pop,” says Lekkas of the new album. “It will be much more mellow, orchestral and chamber poppy … lots of keys, cello, horns and acoustic guitars with our trademark vocal harmonies.”

In the final analysis, Lekkas describes the overall tone of the new GD! songs as “much more downbeat and introspective.”

Armed with that little nugget of info, head out to the Art Museum Area and show a little love tonight. Given the absurdly catchy nature of the Cheetah vs. Helicopter material, you’re unlikely to quickly forget about these guys. The fact that a few new songs are already in the can nearly guarantees a sneak peek (or listen, presumably) of the new album. If that’s still not enough to warrant braving the cold night air, rest assured – their take on the Velvet Underground classic, “Stephanie Says” is simply divine.

Aunt Dracula - Daily Dig! 12/5/07

DigPhilly
December 5, 2007

Wednesday Dig: Werewolves, waffles and weirdos

Created By: Joshua Valocchi

Posted: Dec 05, 2007 2:25 PM

Updated: Dec 05, 2007 2:36 PM

Holy psychedelic freakout, Batman! As if Aunt Dracula’s twisted take on post-punk wasn’t strangely endearing enough, they’ve recently added a waffle-making werewolf to their increasingly bizarre live shows.

Aunt Dracula

Wed., Dec. 5, 9pm. $5. With Enumclaw (members of Golden Ball) + Relay DJs. Silk City, 500 Spring Garden St. 215.592.8838.

This latest stab at kitschy performance art is but another chapter in the wonderfully weird story of this trippy trio. After exploding on to the Philly scene with atomic force earlier this year, Aunt Dracula proceeded to garner accolades from nearly every sector of the local music media. The alt-weeklies were nearly tripping over themselves to crown Aunt Dracula as the new kings of the Khyber set, while the bloggers pointed out – in their typical snarky arrogance – that they had already performed said coronation weeks ago. Such proclamations, while nice and usually well-intentioned at the time, often plant the seeds of decay within an upstart act. It’s just too damn difficult to live up to such high praise.

Nonetheless, Aunt Dracula marched on and, in a fit of near-unprecedented competence, actually exceeded the expectations of the indie intelligentsia. Their heady mix of stuttered-yet-textured guitar work, à la My Bloody Valentine, and the general weirdness of Animal Collective is usually enough to win over audiences in scant seconds.

Apparently not content to rely on mere musicianship to impress their burgeoning fanbase, Aunt Dracula chose to push the proverbial envelope, adding computer-generated visuals and – yes – a lycanthrope wielding a pitcher of batter and a waffle iron, to their live shows. The strange thing about the entire spectacle, though, is how little it affects the music emanating from the stage. Instead of distracting the audience’s attention, the waffle-bearing werewolf somehow makes Aunt Dracula’s music that much more engaging. It’s almost as if the band is subliminally suggesting that their music is so good that even supernatural creatures of the night appear pedestrian against the backdrop of Aunt Dracula’s exotic escapades.

Then again, maybe they’re just keenly aware of the likelihood that half of the audience is just plain hungry after pulling those obligatory pre-show bong hits. Either way, it’s a total win-win situation. Werewolves, waffles and weirdos – what’s better than that?

Weekly Dig! 12/4/07

DigPhilly
December 4, 2007

Weekly Dig!

Created By: Joshua Valocchi

Posted: Dec 04, 2007

In our never-ending efforts to keep our readers ahead of the hip-couture curve, we here at DigPhilly are implementing a new feature today: Dig! Today’s inaugural edition brings you the Sex Mob, turntables and karaoke that doesn't suck.

Comprised of a roundup of concerts, activities and assorted events recommended to enhance your existence in our fair city, the Weekly Dig! will appear on this page every Monday.

The remainder of the weekdays will feature the Daily Dig! which is designed to offer more in-depth descriptions of suggested evening exploits.

Armed with the inherent understanding that the weekends are really where it’s at, we’ll school you with the Weekend Dig! every Friday, laying out the hip happenings and can’t-miss concerts that should rule your weekend.

Think of Dig! as the cooler companion to your Weekly Planner and you’re getting close.

Now that we’ve been formally introduced, let’s get on with the program, shall we?

Tuesday:

Sex Mob

9 p.m. $15. With Billy Martin, Calvin Weston + Andrew D’Angelo Trio. Johnny Brenda’s, 1201 Frankford Ave. 215.739.9684. www.johnnybrendas.com

A wise man once told me, “Jazz will always be there – just waiting until you’re ready.” Well, friends, this gig is a perfect example of that sagely advice. Not your grandfather’s jazz by any means, the music that Sex Mob grinds out is aggressive, skronky and incredibly vital. Eschewing the “cool” emanated by early Miles Davis and the aloof arrogance that pervades too many jazzbo recordings to mention, Sex Mob gets down and dirty, never afraid to blur the lines between punk rock and jazz.

Bandleader Steven Bernstein wields his trombone as if it was a Stratocaster, leading the Mob through fiery movements that owe as much to John Lydon as they do to John Coltrane. Simply put, Sex Mob makes jazz fun again. Joining in on the fun, the opening duo of local drummer G. Calvin Weston and world renowned percussionist Billy Martin (Medeski, Martin & Wood), will start things off with a literal bang. These guys are both top-notch beatmeisters. To miss them would border on criminal.

Wednesday:

Marina Rosenfeld

5:30 p.m. $3-$6 (free with Penn ID). Institute of Contemporary Art, 118 S. 36th St. 215.898.7108

(Photograph courtesy of Stefano Giovannini)

It’s pretty easy to classify turntablists in the “non-musician” category. Seriously – who do these cats think they’re fooling? They’re basically making money by spinning the fruits of the artistic labors of those who came before. Is it blatant robbery or subtle stealing? Either way, these heathens must be stopped in their literal tracks, right? Perhaps.

What about Marina Rosenfeld? An avant garde jazz turntablist in the coolest sense, Rosenfeld quotes – through her vinyl, mind you – everyone from ‘Trane to Marclay to Sonic Youth. It’s an interesting query, really, as Rosenfeld imparts such a world of knowledge upon her listeners that her piracy automatically eradicates any qualms of indiscretion and immediately propagates theories of rebirth through the remix. While she continues to “get away with it,” Rosenfeld succeeds in extending her craft and exposing more and more of the general public to its beauty. As her swath widens, Rosenfeld's scope expands. This is a good thing. Just as DJ Shadow ensures that backpackers are schooled in the Stax catalog, Rosenfeld dictates that jazzbos and art snobs alike know what it’s like to hear the world through John Zorn’s ears.

Thursday:

Karaoke Obscura

9 p.m. Free. 12 Steps Down, 831 Christian St. 215.238.0379. www.myspace.com/karaokeobscura

(Photograph courtesy of www.myspace.com/karaokeobscura)

Finally, a karaoke night that doesn’t suck. Karaoke Obscura is specifically designed for the hipsters who always wanted to get drunk and embarrass themselves in front of friends and strangers alike but somehow deemed the usual fare of available karaoke tunes to be “undignified.” Fear not, my postmodern PBR-pounding poseurs, for the kids at 12 Steps Down are totally in your corner. Sporting an unbelievably comprehensive selection of Pitchfork-approved songs, Karaoke Obscura takes over the downstairs den of iniquity that is 12 Steps Down every first Thursday, offering suds-slurping scenesters the chance to challenge their clueless contemporaries’ entries in the “I can’t BELIEVE I did that last night” sweepstakes. Take a gander at the song list HERE and prepare to get your shoegaze on in front of a crowd filled with trucker caps, leggings and unapologetic irony.

That’s about it for now, gang. Be sure to check in every day for updates, additions and more detailed reports on what’s happening in this chill little city of ours.

The Cold War Kids

Phillyist
November 29, 2007

The Cold War Is Over But the Kids Are Alright

Just in time for tonight's party (will you be there?), Phillyist adds another new writer to the mix, this one the very talented—and extensively published—Joshua Valocchi. We'd like to emphasize that we brought him on as a writer long before he said nice things about Editor Jill's place of employment in a Philadelphia Weekly article, and that said article has nothing to do with his new position on the staff. Although Editor Jill may just buy him a drink tonight, anyway.

Although their seemingly sudden and near-simultaneous appearance on just about every indie rock blog sometime around December ‘05 may have led the masses to believe otherwise, Cold War Kids (MySpace) are much more than mere balladeers on the buzz bandwagon.

From their meager beginnings in a tiny apartment in Fullerton, CA, where they used everything – including the kitchen sink – in the recording of their debut EP, Mulberry St. to finally settling down and signing with Downtown Records (Gnarls Barkley, Art Brut) in the summer of ’06, the Kids have earned their stripes.

Touring relentlessly over the past two years, sharing the stage with the likes of Muse, Two Gallants and the kings of blog buzz, Clap Your Hands Say Yeah, Cold War Kids continue to pile on to their burgeoning fanbase. Their increasing popularity is thanks in no small part to their deceivingly laid back approach to ragged chord arrangements that seamlessly segue to insistent power pop climaxes.

Expect great things from the Kids tonight at the TLA but don’t expect to see scheduled opener Richard Swift, who injured his wrist in a bizarre gardening accident (just kidding – it was actually a gear-loading incident) last week.

Oddly enough, Swift’s unexpected departure comes hot on the heels of the White Stripes’ cancellation of their Icky Thump tour —which the Kids were slated to open—due to Meg White’s adorable breakdown (seriously – isn’t everything Meg does adorable?).

Although these two clearly unconnected incidents aren’t enough to sway Phillyist’s opinion of Cold War Kids, they do at least warrant a caveat. Basically, we still strongly recommend hitting up tonight’s gig. However, sensing what could quickly develop into a disturbing trend, we think it might be wise to maintain a respectable distance from the stage, lest you find yourself ensnared in the grasp of the Kids’ obviously foul-tempered aura.

Remember, kids – safety first.

(Joshua Valocchi)

Cold War Kids with Derrick Brown and We Barbarians
Fillmore at the TLA (334 South St.)
Tonight, 11/29/07, 9PM
$15
Get Tickets

Image Credit: Flickr user tammylo

Anthony Bourdain - No Reservations

Philadelphia Weekly
November 28, 2007

FOOD FEATURE

Chef off and Die

Philly vegetarians are terrorist scum, says Bourdain.

by Joshua Valocchi

Anthony Bourdain has the best job ever. He trots the globe in search of exotic cuisine, unapologetically drinking and smoking to his heart’s content while making his super-cool TV show No Reservations. Admit it—you’d swap.

From his days as a dishwasher on Cape Cod to his post as an executive chef in Manhattan, former heroin addict and cocaine enthusiast Bourdain has seen it all.

All except, it would seem, Philadelphia’s cuisine.

“Honestly, I’ve never even bothered with Philly,” says Bourdain, who reads from his new book No Reservations: Around the World on an Empty Stomach at the Free Library on Saturday. “It seems to me it’s a two-horse town: Starr and Perrier.”

True enough as far as big-box is concerned, but this is straight from the mouth of the same chef who claimed the best eateries are those which traffic in “minimal bullshit.” And anyone who’s bothered with Philly cuisine knows how minimal our tolerance is for bullshit.

Bourdain’s ignorance is a shame. He’s a Philly kinda guy, a straight-up bad boy among the poseurs, poodles and powder puffs that comprise the bulk of celebrity cheffery. Bourdain first found fame in 2000 with Kitchen Confidential, his definitive insiders’ guide to what really goes on in restaurants. It ripped away the curtain of mystique behind which restaurateurs have been bullshitting the eating public for decades—and it had a massive impact.

Suddenly everyone knew that the folks washing your dishes are on the brink of deportation and your high-priced dish is likely teeming with bacteria.

Bourdain took a firm grasp of the brass ring. He signed on with the folks at Food Network and—for a while—jumped through their culinary hoops like a good little TV cheffy.

But after a few agonizing months doing Bobby Flay tricks, Bourdain was offered his own show on the Travel Channel. The deal was irresistible: You tell us where in the world you want to go and we’ll make it happen.

Travel Channel followed Bourdain’s every move and granted his every wish. It was as if he’d stumbled upon a fairy godmother.

But it’s not all sunshine and beach cuisine. Bourdain’s best moment came when he and his crew were all set to tape a show about foodie culture in Lebanon. They were holed up in a Beirut hotel when the Israeli bombs began to land.

“Those kookie-krazy kids from Hezbollah were popping off their weapons today,” he posted on foodie forum Egullet.org. “Israel has been bombing and mobilizing a division in the South with reported land and sea strikes … While the party continues in Beirut there’s a lot of concern that the Israelis will follow up with strikes on infrastructure (like the power grid). And we were due to head to the Bekka Valley tomorrow. BTW this town is party central!” The resulting videography was deeply disturbing.

“It wasn’t so much harrowing as it was heartbreaking,” says Bourdain. “It was truly heartbreaking to see a great city destroyed for no good reason at all. Honestly, it was a deeply shaming and discouraging experience.”

And one that won him an Emmy.

Back to the important stuff, though—like those whom Bourdain refers to as a “plague of vegetarians.”

As things stand, Bourdain has a unilaterally declared truce with the veggies—in that he’s promised not to physically attack them. He’s particularly pissed off with those—like the Philadelphia-based group Hugs for Puppies—who claim that eating foie gras is a threat to society or the environment.

“These fucking people are not really all about us not eating duck liver,” snarls Bourdain. “No, no, no. They don’t want us eating any animal product whatsoever.

“When they win this tiny battle, they’ll move to the next one, like freeing the lobsters.

“These people,” says Bourdain, “are the worst kind of terrorists. And they must be stopped.”

Anthony Bourdain
Sat., Dec. 1, 2pm. Free. Free Library, 1901 Vine St. 215.567.4341. www.library.phila.gov

All Blogs Considered

Philadelphia Weekly
November 28, 2007

Opening Riff

All Blogs Considered

by Joshua Valocchi

It’s no secret the folks behind the scenes at NPR have some pretty eclectic musical tastes. The tiny bumper snippets of tunes played on Fresh Air or You Bet Your Garden heading into sponsor breaks range from beatnik jazz and Delta blues to Bhangra and calypso. It’s always fun to play “name that tune” during the breaks.

Nonetheless, for many acts that four-second soundbite is the highest level of public exposure they may ever receive. In that sense it’s pretty damn refreshing when some hip producer drops the occasional New Deal or Seelenluft sample smack dab in the middle of Talk of the Nation.

In an effort to increase potential exposure for these artists (while raising their own image of course), earlier this month NPR launched NPR Music (www.npr.org/music), their newest foray into the blogosphere. While featuring longer versions of the songs teased on several NPR programs, the site also offers insight into the musical leanings of a handful of NPR hosts and producers. Most relevant, naturally, is the All Songs Considered blog wherein producer Robin Hilton confesses that he doesn’t get the allure of the Beach Boys’ Pet Sounds and compares Lou Reed to David Lynch, deciding the former simply can’t sing and the latter is “just nuts.”

Naturally the site offers streaming audio of selected songs, even occasionally featuring full concerts. But the coolest aspect of the entire site may be Carrie Brownstein’s Monitor Mix blog. Brownstein, the co-founder of Sleater-Kinney, muses not so much about specific songs or albums, but the way in which people experience music. From her love for Blitzen Trapper to her deeply rooted concerns about what people’s choice of pets says about their musical tastes, Brownstein manages to keep matters on the light side with a friendly, conversational tone.

If you happen to walk your iguana while listening to System of a Down, however, Ms. Brownstein would like to have a word with you.

Stones Throw B-Ball Zombie War Tour

Philadelphia Weekly
Novemeber 28, 2007

Live Music

Stones Throw B-Ball Zombie War Tour
Mon., Dec. 3, 7:30pm. $15. With Peanut Butter Wolf, Madlib, Guilty Simpson, Percee P, J-Rocc + Karriem. Starlight Ballroom, 460 N. Ninth St. 866.468.7619. www.r5productions.com

To put it bluntly, Peanut Butter Wolf is the most underrated DJ on the much-maligned backpacker scene. The founder of Stones Throw Records and the mastermind behind the universally acclaimed Madvillain collaborations with MF Doom, Wolf brings his three-ring circus to the Starlight for a night of unparalleled hip-hocracy, endearing the Illadelph to all that is right in the realm of rap. Under the auspices of Wolf’s largesse, old-school legend Percee P rocks the house with his ferocious flow before fledgling flamethrower Guilty Simpson (pictured) sways the jive juries with his tales of dubious deeds. Wordsmith J-Rocc houses haute couture through his highfalutin histrionics as Wolf himself lures the lollygaggers with his capacious catalog of hype-tronic beats. (Joshua Valocchi)

Marina Rosenfeld

Philadelphia Weekly
November 28, 2007

A-List

Jazz you like it
Marina Rosenfeld
Wed., Dec. 5, 5:30pm. $3-$6 (free with Penn ID). Institute of Contemporary Art, 118 S. 36th St. 215.898.7108. www.icaphila.org

Marina Rosenfeld is an avant-garde jazz turntablist in the coolest sense—meaning she messes with the delicate sensibilities of the oh-so-precious dance cognescenti just as much as she tweaks the noses of the turgid jazz snobs who want the genre to stay dry, dusty and dead. As such she walks in the footsteps of John Zorn, the dude who ripped jazz a score of fresh assholes in the ’90s by mixing John Coltrane’s be-bop with Napalm Death’s extreme thrash metal (causing outrage and at least one riot). While in college Rosenfeld invented the Sheer Frost Orchestra, consisting of 17 women playing floor-bound electric guitars with nail polish bottles. In short, like all cool artists, Rosenfeld delights in screwing with heads. Through her vinyl, Rosenfeld quotes everyone from Trane to Marclay to Sonic Youth. Just as DJ Shadow ensures that backpackers are schooled in the Stax back catalog, Rosenfeld lets jazzbos and disco dollies alike know what it’s like to hear the world through John Zorn’s ragged, elephantine and permanently bleeding ears. (Joshua Valocchi)

Roy Ayers

Philadelphia Weekly
November 21, 2007

Live Music

Roy Ayers
Fri., Nov. 23 and Sat., Nov. 24, 8pm. $35. Warmdaddy’s, 1400 Columbus Blvd. 215.462.2000. www.warmdaddys.com

Whether you’ve been gettin’ your swerve on to old Puff and Biggie tracks, catching up on classic Pam Grier blaxploitation vehicles or keepin’ it real with vintage Tribe and Brand Nubian, you’ve been listening to a lot of Roy Ayers lately. Not quite your style, you say? You’re more of a hip-hop snob who revels in flouting your underground expertise? Well that Quasimoto B-side you just mined is rife with samples from the vibraphone master too. From the moment Lionel Hampton handed a set of mallets to a 5-year-old Ayers, to that legendary 1979 world tour with Fela Kuti, he’s been honing the skills that would eventually earn the oft-dubbed “godfather of acid jazz” the ultimate honor: placement in not one but two editions of Grand Theft Auto. (Joshua Valocchi)

Grand StorySlam

DigPhilly
November 13, 2007

Heroin makes heroine of Philly’s best storyteller

Created by: Joshua Valocchi

Posted: November 13, 2007

The "Greatest Storyteller in Philadelphia" wins title on hilarious and heartbreaking tale of heroin, rehab and music.

“So, for my 24th birthday, my friends and family all got together and … sent me to rehab for heroin.”

Thus began the sordid but hilarious tale that would eventually earn Juliet Wayne the coveted title of “Best Storyteller in Philadelphia.”

Presented as the crown jewel of sorts in this year’s First Person Arts Festival, Saturday’s “Grand StorySlam” pitted the winners of the past seven monthly “StorySlams” against one another in a battle royal of yarnspinning. Given the topic of “Most Memorable Musical Moments,” each competitor had five minutes to deliver an autobiographical short story in their individually chosen style. The contestants were judged on presentation and content, with consideration given to the amount of relevance the stories bore to the musically-themed topic.

Wayne’s winning tale owed as much to her endearingly enthusiastic delivery as it did to the touching and deeply personal aspects contained within. Interestingly enough, the only questionable element involved was how much of a “musical moment” it really was. Regardless, from open to close, Wayne kept the standing room only audience’s attention rapt with her demonstrative style and sharp wit. When she wrapped her story up in a nice bow – quite literally, in fact – she had managed to guide the crowd through the gamut of emotions in a fashion that made it difficult to distinguish tears of laughter from those of compassion.

Although Wayne took home the grand prize with her rehab rehash, two other competitors managed to separately snag honors in the specific criteria categories. Brendan Jones’ emphatic delivery of a harrowing experience on a fishing rig in the wild waters off the Alaskan coast garnered him the presentation crown, while R. Eric Thomas’ music-centric tale of singing Tina Turner’s “Proud Mary” in front of a crowd of drunk lesbians at Sisters nailed down the content title.

Although narrowly failing to earn an official prize, Raeann Drew’s adorably disjointed account of just how funny epileptic seizures can be when they happen during choral concerts had the entire audience in stitches. If there was a laugh-o-meter involved in any of the award criteria, Drew would have been a shoo-in. Additionally, local attorney Benjamin Drinen somehow managed to wring a measure of grim humor from a deeply disturbing tale of domestic abuse. His story, which originated from his experience as a social worker, was delivered in such a bone-dry fashion that it was impossible to gauge how serious he was when he stated – in reference to the abuser – “if he comes back here, I’ll kill that motherfucker.”

Through it all, StorySlam host Robert Drake kept it together with his self-deprecating humor and questionable eyesight – especially when it came to reading the judges' scorecards. Drake, a local DJ and the producer of WXPN’s Kid’s Corner, managed to maintain the evening’s momentum during intermittent breaks as the judges tallied their scores. He took some time to share a few personal observations and also read selections from the more than 1,500 submissions to WXPN’s recent “Most Memorable Musical Moments” countdown competition.

Amusingly enough, when Drake turned the microphone over to StorySlam winner Wayne, the newly-crowned “Greatest Storyteller in Philadelphia” was initially rendered speechless. After gathering herself, however, she managed one line that put the whole evening into perfect perspective, “I feel like I just achieved the biggest accomplishment in my life by telling about my greatest failure.”

Buck 65

Philadelphia Weekly
November 14, 2007

Opening Riff

by Joshua Valocchi

The Buck Stops Here

On Buck 65’s MySpace Music page, a solitary word occupies the “Sounds Like” section: “nothin’.” It’s a surprisingly apt and impossibly brief summary of what the Paris-by-way-of-Halifax country-punk-philosophical white rapper is all about.

“When I’m writing songs and sampling beats, I never consider how it will be defined by the music world at large,” says Rich Terfry, Buck 65’s government-issue offstage persona. “Whenever I start worrying about mixing genres too much, I think about how Afrika Bambaataa incorporated Kraftwerk into hip-hop and brought it to the South Bronx in the early ’80s. If there was room for that back then, surely there’s room for my stuff now.”

Apparently Terfry’s blatant disregard for boundaries extends beyond his beats and lyrics, permeating the themes and imagery that dot his musical landscapes. Defying the age-old practice of glorifying thugs and gangstas through odes to bling, Terfry paints some pretty bleak portraits on his sonic canvas.

On his newest disc Situation Buck 65 marks a slight departure from the trails blazed on his previous efforts in a loosely constructed concept album that hinges on a more stripped-down hip-hop frame than his typically dense fare.

The tracks on Situation lazily revolve around the theme year of 1957, with mentions of Ginsberg, Sputnik and Bettie Page thrown in for scenery.

Predictably Terfry brushes off any intimations that his latest project may not “fit in” with the heavily textured aural collages of his past releases. “Hip-hop has become such a broad genre,” he notes. “The level of open-mindedness and spirit of musical adventure is constantly growing throughout the fanbase. There’s always room for something else.”

Buck 65 performs Sat., Nov. 17, 9pm. $10. With Bernard Dolan. Johnny Brenda’s, 1201 Frankford Ave. 215.739.9684. www.johnnybrendas.com

Galactic

Philadelphia Weekly
November 14, 2007

Live Music

Galactic
Fri., Nov. 16, 9pm. $20-$22. With Chali 2na, Boots Riley, Mr. Lif + Lifesavas. Fillmore at the TLA, 334 South St. 215.922.1010. www.livenation.com

Having cut their teeth in the New Orleans funk scene for the better part of a decade, Galactic shifted gears in 2003, tapping hip-hop knob-twiddler Dan the Automator (Handsome Boy Modeling School) to helm the production of Ruckus.

The result: 13 tracks of breakbeat-driven electrofunk served as the band’s perfect introduction to several luminaries of the underground hip-hop scene. Going beyond newfound fandom, the Coup’s Boots Riley and Jurassic 5’s Chali 2na contributed vocal efforts to Galactic’s newest release From the Corner to the Block. Both MCs are on the slate for this gig—along with fellow collaborators Mr. Lif and Quannum’s inimitable Lifesavas crew—thus ensuring an experimental evening of creative cross-pollination. (Joshua Valocchi)

Moustachio Bashio

Philadelphia Weekly
November 14, 2007

Editor's Picks

CONTEST

Moustachio Bashio
Tues., Nov. 20, 8pm. Free. Ten Stone, 21st and South sts. 215.735.9939. www.tenstone.com

The question on everybody’s upper lips: What, exactly, is the Moustachio Bashio? The brainchild of resident Ten Stone pranksters Brenna McGinnis and Papaya, the Bashio is a good old-fashioned mustache contest.

Roll up and put your tickler to the test. Does your soup strainer make the rest of the field look like peach fuzz? Got a cookie duster that’s more of a muffin mopper? Come on down, then, ’cause it’s straight Mo-vember (as the month has been renamed by antipodean face fungus fanatics) at the Stone.

A celebrity panel of judges including Markos Kapes (and his horseshoe Manchu) along with Skull (seriously, is it even possible to hold a proper mustache contest without a guy named Skull?) will adhere to a strictly nonsensical point system to determine the winners.

The always-popular “various prizes” will be awarded to the most diabolical (think Snidely Whiplash and Dick Dastardly) and the high-handlebar holy of holies, the “Tom Selleck Would Be Proud” ’stashe.

In a stunning display of largesse, the organizers have even instituted categories covering fake mustaches—opening wide the windows of opportunity so the glory of grooming greatness can be grasped by all. (Joshua Valocchi)

Lewis Black

Philadelphia Weekly
November 14, 2007

A-List

Hit and misanthrope

Lewis Black
Thurs., Nov. 15, 8pm. $45-$65. Academy of Music, Broad and Locust sts. 215.893.1999. www.kimmelcenter.org

Like a pre-9/11 Dennis Miller on crank, the genuinely angry and always hilarious Lewis Black takes a circuitous but sharp-fanged approach, attacking the bastards who run things with a frustrated gusto that sometimes threatens to spill over into dementia.

Black’s development has mirrored Miller’s in at least one respect: exponentially increasing hysteria. Just as Miller sold out his liberal credentials after 9/11, choosing instead to traffic in batshit-crazy rants about the dangers of civil liberties, Black’s been spiraling deeper and deeper into what can only end as a full-on mental breakdown in front of a live audience. Or is it an act?

Whatever, it’s exhilarating.

Black’s Daily Show colleague Jon Stewart is really funny only when he’s pissed. Black starts pissed. He’s the comedic equivalent of the Hulk. He spares no one. Attacks on Republican greed and arrogance are bookended with diatribes against Democratic ineffectiveness, bureaucracy and infighting. Lately it seems the only group safe from Black’s maniacal reach is Canadians, who, according to Black, “get it.” (Joshua Valocchi)