The Smiths

11 BEST COMEDY BITS ABOUT MUSIC
April 1, 2016 2:02 pm

On the surface, music and comedy share a great deal of similar DNA when it comes to their craft and how they present their work. But humans share about 80% of the same DNA with the duck billed platypus, yet very few of us look like the end result of a drunk scientist trying to put a rubberized handle on a beaver. So while comedy may not get the credit it deserves as an art form, it winds up opening a considerable lane for it to make fun of a lot of institutions that become very stuffy from how overly revered the artists get. Music is one of the leaders in stuffiness, which is why I always take great joy when a comedian is able to adeptly insult the medium in an incisive way. Here are a few of my favorite examples:

Chris Rock – Defending Rap Music

I’m limiting this list to one joke per comedian because if I didn’t, it would just be a collection of funny Chris Rock and Dave Chappelle bits. They’re seriously lightyears ahead of any other comedian on music. And the way Rock is able to combat the issue of rap being taken seriously from all these different angles is genius. It’s a conversation every rap fan has had to have at one point, and the only defense for a lot of rap songs are that it sounds fucking dope. As a person who lives in a very politically aware climate of 2016, it could lead to a lot of inner conflict. But most of that inner conflict falls by the wayside when it’s 1AM at the bar.

Andy Kaufman – Underdog

Trying to explain why an Andy Kaufman joke is funny leads down a snobbish rabbit’s hole. You’ll either think his coyish attempt to lip sync the lyrics to the Underdog theme song is hilarious or corny. I agree with both sides wholeheartedly.

Hannibal Buress – Odd Future and Young Jeezy

First, Young Jeezy as a real estate agent needs its own HGTV show pronto. Second, Hannibal Buress is able to get to the crux of Odd Future’s faux-edginess better than any credited music critic. Third, spam email is the worstest.

Tig Notaro – Taylor Dayne

Tig’s deadpan delivery is at its best in this 11 minute epic about her frequent run-ins with ‘80s pop star Taylor Dayne. And Taylor Dayne never remembered Tig, despite her deliberately saying the same exact thing to Taylor Dayne each time: “Excuse me. I’m Sorry to bother you. But I just have to tell you. I love your voice.” That’s just the life of an ‘80s pop star, guys. Alt-comedian icons come out in droves just to compliment you. It’s hard to tell them apart after a while.

Eddie Murphy – James Brown

A lot of Eddie Murphy’s stand-up material from the ‘80s would be ripe for Tumblr blog post fodder, but there’s no denying how he’s able completely become the figure he’s impersonating, from the voice to their little idiosyncrasies. Murphy’s James Brown impression is arguably his best and has contributed to the unparalleled success he had on SNL. It was such a good impression that Brown himself wanted Murphy to play him in a biopic.

Mindy Kaling – Illegally Downloading Music

Although she isn’t known as a stand-up, I always loved Mindy Kaling’s joke about online piracy when she performed it at Comedy Death Ray. The bit is a little obsolete now, but it takes me back to those halcyon days of Limewire when I would download incorrectly titled Taking Back Sunday songs and give my laptop about a billion viruses in the process.

Matt Braunger – Jim Morrison

This cartoon of Jim Morrison riding shotgun, drunkenly crooning about whoppers is an indispensable visual aid for people who might find themselves in a contentious situation with a Doors fan. It’s an unenviable position that oftentimes leads a lot of gobbledegook poetry being read aloud. Let the animated Lizard King serve as a distraction and leave the scene immediately.

John Mulaney – Salt And Pepper Diner

One day, John Mulaney and his friend decided to use the music from Tom Jones in an impromptu psych experiment on an unsuspecting diner full of innocent families and possible schizophrenics. What exactly would happen if you play ‘What’s New Pussycat’ over and over and over again? Well, a lot of madness.

Aziz Ansari – Kanye West

Examining Kanye as a character become an everyday sport at this point, but very few people could say they were able to experience The Kanye up close and personal. And since Aziz is a complete outsider to Kanye’s world, he was able to magnify all the tiny, little, crazy things Kanye seemingly does on an everyday basis and thinks nothing of it.

Dana Gould – Clown Fucker (A Morrissey Tribute)

From the pretentious vocabulary, to the dark sing-songiness, Dana Gould creates the quintessential Morrissey parody with Clown Fucker. The crowd even gets in on the fun, and joins him for the final chorus. I’m assuming Morrissey’s never heard this joke, which is a shame because it would be a treat to read his pithy hate statement about the whole thing.

Dave Chappelle – Prince

Charlie Murphy’s True Hollywood Stories: Prince from Anthony Dufrense on Vimeo.

I’m counting this as stand-up because not having one of the Charlie Murphy related stories on a list like this would be criminal. Every word Chappelle says as Prince has been quoted hard from day one. You really couldn’t go one pick-up game in the mid-00s without hearing something along the lines of ‘shoot the J.. shoot it!” or “game: Blouses.” And Murphy’s fully engaged narration sets the tone perfectly throughout.

NIGHT TERRORS OF 1927, THE ORIGINALS
February 21, 2016 10:01 pm

Night Terrors of 1927, the newly-formed indie pop group from Los Angeles featuring Blake Sennett and Jarrod Gorbrel (formerly of Rilo Kiley), shows great promise for the kind of pop that, as pop rarely is capable of doing, can make you feel complex emotions. Their debut album, Everything’s Coming Up Roses, does so in an edgier fashion than almost any band that could be considered pop, and in some instances might even be considered slightly experimental.

A clear influence for Night Terrors that comes to mind is the seminal indie pop group The Smiths. The emotionally-charged lyrics and catchy-as-hell melodies sound like a band paying tribute to Morrissey and company by taking the latter band’s blueprint for great indie pop and expanding on it with modern pop instrumentation and production, but Night Terrors does so in a way that still allows them to create a sound that is entirely their own.

On Everything’s Coming Up In Roses, the band uses entirely modern instrumentation, Smiths-influenced lyricism, and contemporary pop-music production to create a sound that is entirely theirs, and their blend of these qualities make their album stand out among their peers. There is no lack of bands in the indie music scene attempting the same feat as Night Terrors of 1927, but the difference is that this band uses the noteworthy qualities of their highly influential predecessors while still creating music that feels contemporary, while many of their peers that attempt to do the same sound trite in comparison.

Night Terrors of 1927 uses their influences as exactly that, not to copy bands that have already left their mark on music history, but to continue where influential indie pop bands have left off by creating music that leaves behind nostalgia in favor of fresh, contemporary music transcends the barrier between influence and originality.

KEEP YOUR GIGS IN CHECK WITH SONGKICK
December 1, 2015 2:09 am

It takes serious dedication to go see live music in 2015.

Song-Kick-Concerts-App-Review0If you’re anything like me, you’ve spent a disproportionate amount of time and energy scouring the interwebz for upcoming gigs in your locality, only to realize you’ve already missed the boat.  That band who’s killer new record just dropped last week–that’s been on constant repeat on your Walkman–has already finished their encore, packed it in, and moved on to their next tour stop.  Guess you’ll have the catch them the next time they come around…

Alright, come on.  Cheer up.

Songkick has been helping devoted concert goers track their favorite artists and snag tickets to upcoming shows since 2007.  The start-up was founded by a group of tech-minded music nerds in London’s so-called Silicon Roundabout.  The company has quickly grown to become the second largest e-ticket vendor behind Ticketmaster. Using it’s expansive database of over 2,000,000 artists, Songkick automatically generates a feed of recommended gigs based on the artists on your device’s Spotify, and the ones you’ve liked on Facebook. Notifications are sent to you via email the moment tickets go on sale, so don’t wait!

Mondo’s Last Dance
August 31, 2015 9:00 pm

As a fifteen-year-old aspiring pop-kid in Southern California, without a driver’s license and few friends who knew or cared about Eithne Farry, most of my Saturday night dancing was relegated to my bedroom. Mondo was always mentioned on indie pop message boards and blogs and whatnot, and I was always bummed I was 3000 miles away. Then, in 2012, I moved to New York. Finally! I could dance with other P!O!P! stars and lose it when ‘Throw Aggi Off The Bridge’ came on. Saturday nights spent twisting and shouting like a maniac in a big, sweaty room where everyone knows the words to ‘Age of Consent’ or ‘Supreme Nothing’ or even ‘Die Matrosen’? What a dream! I mean, is there anything more fun than hollering ‘Common People’ at 3:30 AM with a hundred other people? No. – Mat Towles, Expansionista!

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Mondo is a monthly dance party that’s been running for 11 years. It began in Manhattan, but eventually found a home at Cameo Gallery in Williamsburg. The three DJs who make up Mondo have become known throughout indie circles for their effervescent mix of indie, Britpop, and girl groups, a catalog that keeps their fans coming back, even though the parties don’t start until midnight.

Mondo has become home for countless music aficionados who never thought they’d hear their favorite songs in a club, who would never even show up to a club, and shockingly, who would meet others that shared their love of the just-outside-of-mainstream. And they’d spend the night dancing until their feet stopped working and the sun started coming up.

Now, amidst rumors surrounding the end of Cameo Gallery, and Mondo DJ Kevin moving across the country, the group is calling it quits on September 19th. Here’s one last look at the party that changed so much for so many.

Mondo was my first real dance experience. It taught me that anyone can dance and that not everything was clubbing and EDM. Anyone can have a good time and come as they are. – Jake Geiger, fan

 

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Out of the thousands of people who have attended Mondo over the years, few of them actually get to know you three. So, before we start, please introduce yourselves.

KEVIN: My name’s Kevin but my DJ name is Kevington (thoughtfully donated to me by the talented Michael Grace Jr. of the band My Favorite). I’m 41, queer, and I’ve been in NYC since 2001.

MAZ: My name is Maz (DJ DR MAZ). I’ve been DJing at Mondo since 2005. Aside from being a DJ, I’m a dentist by day, and also dad to (soon-to-be) two boys.

MILLIE: I am Millie, better known to Mondo-goers as DJ Miss Modular.

Mondo encompasses a lot of Britpop, indie, and some 1950s-60s era girl groups. How did you get into those styles of music?

KEVIN: For me, it started as a teenager in the 90’s. My older brother took me to see The Cure on their Disintegration tour at their nearest stop, Detroit, MI. My mind exploded over their pop songs and their sense of melody and [singer] Robert Smith’s gift for hooks. From there, I quickly got into New Order, The Sugarcubes and Siouxsie and the Banshees. But the Pixies really scared, dazzled and thrilled me into opening up to American indie rock, Kim Deal and the 4AD catalog. A lot of the music that I loved in those days, I love today and I still play at Mondo along with brand new songs. I grew up with oldies radio playing in my mom’s car and even though I always wanted Blondie and disco and novelty 80’s hits, my mom loved Motown and girl groups so I suppose I was passively conditioned to love a shoo-wop and a handclap.

MAZ: Britpop was exploding around the time I was really getting into music. I was obsessed with the bands coming out of the UK in the early-mid 90’s. I would travel around the US to see bands like Pulp, Oasis, and Blur on tour. The internet helped me dive deeper into the music world and discover indie pop, Northern Soul, girl groups, Swedish pop, post-punk… all styles we have been playing at Mondo since the beginning.

MILLIE: I think that’s a hard question to answer for me on a personal level. Music has always been a sort of evolution for me. Growing up in the 80’s and 90’s certainly defined a lot of my musical tastes. But in regards to Mondo, those were the music styles Kevin, Maz and I shared most. So it seemed like a natural choice as we moved forward with the party. It was really an unspoken agreement though; I think we were just aligned in a sort of cosmic way. 🙂

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I have so many favorite Mondo memories it’s hard to know where to start! One favorite was a night with a particularly great crowd: no one seemed to want to go home, and we closed the party out in a big group circle, swaying unsteadily to some Jens Lekman song. The magical confluence of an inexpressibly packed and sweaty dance floor with a Joy Division song. Making dance floor friends with the other people singing along to Tullycraft. My friend dragging me up on stage to dance to The Jackson 5. The time I tripped on the uneven floor and ended up with a palm full of glass chunks (back when they allowed glass…) but just brushed it off because who wants to miss Mondo for a little bit of glass? I think the best nights were the ones when the whole room, people who didn’t know each other, seemed to band together somehow. It could be my subjective experience of course, but I think good DJs can really unite people. I’ve loved coming to Mondo because they play things you never thought you would ever hear at a dance party, songs I figured I was the only one ridiculous enough to dance to. When they did a Belle & Sebastian themed night, I can’t think how many times I looked around with a big grin on, thinking “I cannot BELIEVE people are dancing to this!” On the other hand, even though there were clearly some classics, they always kept it fresh with new sounds and new music. I’ve discovered a lot of new favorites over the years, things I might have otherwise missed. – Finlay Logan, fan

 

I walked in and felt right at home. Here was this enclave of people who would shake and shimmy and not care if they looked cool. The music was great and it was a much needed relief from being chained to my desk. Finlay and I met at that Mondo. Here we were, kindred spirits on the dance floor having a great time. At one point, some random guy looked like he was getting pretty close and Finlay looked like she was having less than a great time. I did what felt most natural in that moment and took her hand and we spun around in circles. The random guy left. Fast forward to a few more Mondos and, as luck would have it, my birthday fell on Mondo Saturday. I was so excited to hit the dance floor and bring tons of my friends with me. Suddenly, cupcakes appear! DJ Kevington and I have the same birthday! It’s the sort of random bouts of glee that make Mondo fun. You can go in not knowing anyone and come back with great friends. You can dance by yourself the whole night and have the best time in a crowd of others. It’s fun and it’s friendly and it really has been a pleasure sharing the dance floor with all of you. Christina Watanabe, fan

When you started Mondo in 2004, what was the New York music scene like? Did you ever worry that the music you were playing wouldn’t find an audience?

KEVIN:  The music scene in 2004 seemed healthy and exciting. I was going to shows all the time at Mercury Lounge, Galapagos, Bowery Ballroom, Rothko, which was on the LES, Northsix, which is now Music Hall of Williamsburg. I saw the Yeah Yeah Yeahs at tiny little Brownies on Avenue A—it seems like there were always great shows in smaller spaces then. So while I was going to see bands, I was going to a few gay bars and gay parties regularly. I would go see my friend Bill Coleman DJ around town and he would play a wide range of stuff, including some indie. I also loved this really wild gay party, Magnum, which was at the Park Restaurant in Chelsea near what’s now the Highline. At the time there wasn’t much there but galleries. It was on Sunday nights and there were strippers in hot tubs, go-go boys, back rooms, all kinds of depravity along with multiple DJs in multiple rooms and one would play a mix of more expected gay club stuff along with Le Tigre and the Ramones and maybe The Strokes or something. I remember thinking those kinds of curveballs at that kind of party seemed really smart and fun.

I never really worried that we wouldn’t find an audience. I don’t even know if that was the question, at least for myself. I was so excited to have met people who had such great taste that I always felt, how can people not want to come to this? We had the music on our side

MILLIE: When Mondo started in early 2004, New York had become epicenter of indie rock music. Bands like the Strokes, Interpol and Yeah Yeah Yeah’s were taking center stage. It was an exciting time in this city for new music. But for me, it was also an exciting time of discovering indie music from all around the world. (It’s the reason we have the name Mondo.) I wanted to play so much of what I was hearing and excited about. I was certain that there would be others who would too.

Mondo also seems to have a fan base in the LGBT community. Do you think there’s a reason, or do we all just love Britpop?

KEVIN: Being the gay member of the Mondo DJ trio, I would love to take all of the credit for that but I don’t think I can. I think that historically, gay people have had superior taste in a lot of things (although taking a peek at the taste level of music in a lot of gay clubs now certainly shouts otherwise). LGBT people know what being an outsider is like and a lot of music that we play speaks to that—The Smiths, Kathleen Hanna’s projects, even Pulp—all of these artists touch on being on the outside looking in. So when you have a dance party made out of some of that music, attracting gay people only seems natural.

On the other hand, early on, we had John Cameron Mitchell who wrote and played Hedwig in Hedwig and the Angry Inch guest DJ. He’s an old friend and he has excellent taste in music. I had been slipping him mix CDs that he would sometimes pull from to add to his own sets and I once asked him if he’d be into guesting with us. It was a fun and very surreal night.

I also credit my friend Greg who’s a very longtime Mondo fan – I sometimes refer to him as Mondo Bear Greg. He is a huge indie nerd and is more or less the mayor of a certain set of gay men in NYC. He is probably single-handedly responsible for hundreds and hundreds of stamps on the hands of hairy gay guys coming through the doors of Mondo over the years.

And finally, since I’m gay and Dr Maz and Miss Modular are super gay friendly of course we don’t and have never tolerated any sort of homophobia or anti-gay attitudes while working in nightlife, so I think that the LGBT community can sense quickly that Mondo is a safe space to be yourself.

MILLIE: Well I think Mondo has always been a safe haven for people on the fringe. And in that way, maybe the LGBT community has felt at home with us. But, also, we all just love Britpop. 🙂

Recently, there’s been a huge resurgence of interest in Britpop, and 90’s music in general. Is that strange to you, since you’ve kind of been doing that the whole time?

KEVIN: It doesn’t feel all that strange to me as the culture is constantly churning its past back up for another look or another spin on it. I also feel that the 90’s had a decidedly un-cynical “anything is possible” feeling and it’s not surprising that some people might want to gravitate toward that sensation now as it seems extremely lacking in the tone of the overall current culture.

MILLIE: Not at all. In the 90’s there was a resurgence of interest in 70’s and 80’s music. To some degree looking back at what came before is quite natural.

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Being a native to ‘the city’ doesn’t mean you’ve experienced all that the people here have to give. In fact, that sentiment seems to be one of the only true hallmarks of us city-folk. Mondo was the first time I really felt comfortable expressing just how much I love the things I love (dancing and indie pop) so loudly and publicly, even though my prior experiences with the people and events here instilled those passions in the first place. In a lot of ways, Mondo helped me become more of who I already was. I’m not sure if that is change or just coming in to yourself, but either way, I can only be so lucky to have another experience like it help me in my next transition. Yea, I like that word best. – John Mazzoni, fan

 

Formats like vinyl and cassette continue to be popular choices for releasing music in the indie community, despite not being very convenient. Did you ever consider using records to DJ?

KEVIN: Not Really. I have spun records very occasionally. I have some obscure 7” singles I like to dust off from time to time, but I am not one of those people who will wax (no pun intended) rhapsodic about the virtuosity of how music sounds on vinyl. I am more interested in having access to any song that comes to mind to have in my set without worrying about format.

MAZ: We’ve been using CDs from the beginning. It’s just easier. I bring about 300 CDs to every Mondo. I can’t imagine bringing that much vinyl with me. Plus, I don’t like the idea of spilling beer on vinyl. That said, I did occasionally DJ with vinyl when I had my own night in the Lower East Side.

MILLIE: It’s been considered and I believe Maz may have used some at one point or other. But ultimately we chose to keep things simple with CDs.

Last summer, you performed before a screening of the Pulp documentary, “Pulp: a Film About Life, Death & Supermarkets” at Rooftop Films in Brooklyn. Were you able to meet Jarvis Cocker [singer for Pulp]? What was he like? Is he the perfect man?

KEVIN: We were supposed to share the decks with Jarvis Cocker and co-DJ but I think the entire night ended up being quite overwhelming for him and we were told he liked what we were playing so he stayed back and left us in charge of the music. I didn’t actually meet him that night but Maz did. He’s a superfan to the degree that his wife, right before Rooftop, joked that he had better not make out with Jarvis that night.

MAZ: Ha! That was an incredible night. Kevin was instrumental in making that night a reality and I’m still on a high from it. It was actually my second time meeting Jarvis. I met him in Barcelona about 15 years ago while I was on vacation. He is as charming and lovely as you might imagine. I jokingly (?) told my wife that I wanted to name our next kid Jarvis.

MILLIE: Jarvis IS the perfect man!  Being so close to him was exhilarating (in fan girl/boy kind of way.) We weren’t able to speak to him much but I did manage to snap a photo with him and Maz though.

Mondo is unique in New York, but similar to other dance nights that happen in London and other parts of the UK. Have you had the chance to experience any of those? Have they influenced you at all as DJs?

KEVIN: I have not been to the UK! It’s criminal, I know. So I can’t claim any influence there. Maybe next year!

MAZ: Yes! I’ve been to several nights in the UK/Europe. In 2011, I was a guest DJ at the amazing London club night HOW DOES IT FEEL TO BE LOVED? Fittingly enough, they were doing a Pulp special to celebrate the band’s live return show at Hyde Park. I also guest DJed at the BIG PINK CAKE Summertime Special in Bristol – which was wonderful! I’ve been to dance at the brilliant SO TOUGH SO CUTE club night in Malmo, Sweden and the incredible NATIONAL POP LEAGUE in Glasgow. There were several others as well, but these were the most memorable.

MILLIE: I don’t think Mondo has been influenced very much by other parties really. That said, we’ve always had a ton of respect for existing indie parties like Popscene (SF), How Does It Feel to Be Loved and Scared To Dance (UK). Not to mention NY predecessors like Tiswas at Don Hills.

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I first went to Mondo in early 2011. I had been to some dance parties in New York, but I had already noticed a pattern with most DJ sets, even the ones I thoroughly enjoyed. Ultimately I was satisfied with nightlife culture, but I never knew how much better it could be until I went to Mondo. I walked into Cameo and ‘Ask’ by The Smiths was playing (weird side note, this specific song has been on many, many times that I’ve gone to Mondo since, and I often arrive at different times). I immediately felt at home in the place, with all these indie kids dancing around under the clubs laser lights, but what blew my mind was that right after ‘Ask,’ they put on ‘Strange Powers’ by The Magnetic Fields. I got so excited, I texted a friend while hopping around. Since then, I’ve been a regular, and while they have their go-to crowd pleasers, they have thrown me for a loop over and over with their selections, whether it’s something like The Go-Betweens, or Throwing Muses, or White Town. I have never encountered a crew of DJs so daring with their choices while concurrently so successful for keeping a party filled and excited. They’re by far the most inspiring DJs I’ve seen in my years of club dancing in New York, and I’ve gone out dancing roughly 2-4 times a month. – Douglas Bleggi, fan

Are there any other music-related projects you work on? Maz, I know you’ve been responsible for Popfest for the last 9 years.

KEVIN: I was a music critic for many years. I used to write about rock and pop for Time Out New York and a few other magazines and websites. I guest DJ at a few other spots here and there when called on but I don’t pursue it in earnest. I have also occasionally done some music consulting and helped contribute to music supervision on a couple of films.

MAZ: Yeah, NYC Popfest has been my other big musical project besides Mondo. It’s a 4-day long indie pop music festival, and it will be 10 years old next Spring. It’s incredibly rewarding, and I’m proud to have helped indie pop gain some well-deserved recognition in New York City.

MILLIE: Nope, Mondo has had my full focus since I started it in May of 2004.

How are you preparing for the last Mondo? Do you expect it to be emotional?

KEVIN:  I should probably be preparing more than I am. I’m moving to LA at the end of September so that’s taking up a lot of the planning real estate in my mind. But I plan to set aside more time to make sure that I don’t forget any of the songs I want to make sure I play. I usually seek new music for every Mondo but for the finale I’ll be looking more at the past.

I already got misty playing “Age of Consent” at the August Mondo so I’m sure that the last one will be very emotional. But I hope that along with any feelings of sadness at saying goodbye to the party that just like every other Mondo, there’ll be a lot of joy.

MAZ: It feels strange. Mondo has been a true constant in my life in NYC. Essentially, for as long as I’ve lived in NYC, there has been Mondo once a month (sometimes twice a month). It won’t hit me until months later, probably, that Mondo is over. I’ll hear a song we used play at Mondo at some random place and have a total break down. We’ll see!

MILLIE: It will most definitely be emotional. I am preparing by listening to a lot of Mondo music from years past—I take a break from time to time so as to not get too choked up.

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Mondo: The Documentary

Many of us aren’t willing to let go of Mondo so easily. Videographer Kaina Dominguez of The Imaginarium Lab, herself a former indie rock DJ in her native Venezuela, recently began work on a Mondo documentary. Inspired by the longevity of Mondo’s existence in a constantly changing music scene, she wants to tell their story.

The main focus of the documentary will be exploring the history of Mondo, as well as the past and future of the New York dance scene. Still in its infancy, Dominguez has already completed shooting one of two Mondo dance parties, and interviews with Kevin, Maz, and Millie. She already has tons of footage of yours truly dancing badly. We will keep you posted on any developments.

Listen: Mondo’s Last Dance