twoonefivemagazine.com

Air

What: The French lounge pop maestros bring their too smooth synth sounds to the E. Factory. The duo is touring in support of their new album Love 2 and love is exactly what they will be spreading. Make it happen.

Where: The Electric Factory, 7th and Willow Streets

Cost: $40, $43 day of show

Applause is Welcome Dress in Encore

Worst case senario: your "St. Patty is my Homeboy" t-shirt has unsalvageable beer stains, and you drunkly gave your Dr. Seuss-inspired shamrock hat to an innocent bystander outside of Fergie's Pub. Take this as a blessing in disguise. Instead of buying another cliche graphic t-shirt that you can only get away with for one day out of the year, go for a more classy look in this Aryn K. silk dress. The jade green bottom features two side pockets, perfect for storing that extra cash for booze. Since the top part is gray, you can still add some shamrock accessories without resembling the Jolly Green Giant (just in case you're already bought some bitchin' four-leaf clover glasses.) Sadly, everyone around you will be beyond plastered and more concerned with their next pint than your ensemble, but hopefully it stands out enough to earn you a few free rounds. (ModCloth.com)

A Place to Bury Strangers

You can call it noise-rock, shoe-gaze, psychedelic, or all three; just don’t call it the second coming of My Bloody Valentine or The Jesus and Mary Chain. Brooklyn’s A Place To Bury Strangers are big on dark atmospheric textures and bigger on blandness. On the opening track “It Is Nothing” from their latest album Exploding Head – an astounding guitar intro reminiscent of an accelerating Formula One race car convinces you that something special lies ahead; unfortunately what waits for you are synthetic sounding drums and monotone vocals shooting for detached heart-broken nihilism and hitting a notch above one of the goth kids from South Park. As a whole “It Is Nothing,” is a microcosm of the album- fuzzed out spastic noise fits and shimmering industrial tones from pedal wizard Oliver Ackerman entice, sadly they also remain the only enjoyable element- this theme purveys throughout the album. Numbed out monotone vocals have always been coupled with abrasive tones as a form of sonic balance and there is nothing wrong with that, but when when Ackerman utters “what, what the fuck, don’t play with my heart” on the mid album track “Dead beat,” it is nearly laughable. Boring Vocals aside, on “Ego Death” Ackerman channels the spirit of late-great Stooges guitarist Ron Asheton by conjuring layer after layer of maniacal treble waves and dissonance- tricking you into believing that every time he steps on his distortion pedal a rocket explodes into orbit. Dubbed “the loudest band in New York,” A Place To Bury Strangers may very well be an impressive live act, but that spirit does not justly translate to the tangible realm. (Mute Records) 6.0

Green Zone

Within seconds of the house lights going down, we're in an Iraqi war zone. Bombs breaking overhead, rapid fire machine gun volleys, screams of frightened civilians. The hand held camera shakes with every sound affect, flying from scene to scene, character to character. The edits are short, choppy, blurring together a rushing cacophony of images and motion. In short, we are in a Paul Greengrass action scene.

The techniques he invariably uses have their strengths. In films like United 93 and the second two Bourne installments, Greengrass uses this visual confusion to good advantage, pumping up the drama while maintaining a kind of literal, quasi-documentary style. The advantage he has with those films, however, are superior, intelligent scripts, that add layers of complexity in harmony with Greengrass' furtive visuals. Let us say this film does not enjoy that particular advantage.

As penned by Brian Hegeland (Man on Fire, The Taking of Pelham 1 2 3), the film takes the complexity of the U.S. military's misguided search for WMD in the opening salvos of the Iraq War, and boils it down to a facile dichotomy: The good soldiers, as personified by Matt Damon's character, who go to Iraq to "save lives;" and the evil bureaucrats, typified by Greg Kinnear's government pinhead, who simply want to justify the war at any cost. Damon plays "Chief" Miller, in charge of an Army battalion searching for the aforementioned WMD. Growing increasingly frustrated by what he believes to be "bad intel," as to the nature and location of the weapons, he takes matters into his own hands and very nearly captures a high-ranking Iraqi general (Yigal Naor), which draws the ire of Clark Poundstone (Kinnear), a high-ranking government official who seems to be the sole perpetrator of the WMD myth. Before too long, we're in a race against time as Miller tries to locate the general and get him to testify to the U.S. Government's malfeasance, while Poundstone tries to have him assassinated before he can spill the beans.

In addition to reducing the issue to a superficial, paint-by-numbers polemic, the film also makes the case for the U.S. distorted involvement in Iraq being the work of a single, relatively low-level bureaucrat. In order to avoid controversy, and, one supposes, to keep the film's potential complications to a bare minimum, the filmmakers have declined to indict the acting U.S. president and vice president. The only time we see Bush, it's as he's giving his ridiculous "Mission Accomplished" speech aboard an aircraft carrier. Meanwhile, prisoners are tortured and beaten, SF troops break military laws left and right and one Army officer is very nearly able to track down one of the most wanted Iraqi military officials, very nearly single-handedly. "Democracy is messy!" intones Poundstone helplessly, as he's being confronted with the ethical dilemmas facing the occupying U.S. military. Forget the "fog of war," this film is a bloody blizzard of a sandstorm.

Young H Goes In: Little Brother

Just as the concept of meaningful fun music centered around quality beats and rhymes seemed lost earlier this decade, the Justus League showed up seemingly out of thin air. Without a formerly established buzz, the collective brainchild of North Carolina’s Cesar Comanche and producer 9th Wonder made the internet flock like hounds, considered by many to restore faith when matters seemed hopeless.

Without question, the League’s breakout success story was Little Brother. Sprinkling songs “Whatever You Say” and “Speed” online served to wet appetites for the full length debut The Listening, which sent a seismic shift through the underground. No longer was independent hip hop solely dedicated to bearing grudges against what the culture had become, The Listening represented the hearts, minds and feelings of those raised by the golden age.

The fleshed out vision of 9th along with rappers Phonte & Big Pooh, Little Brother was more concerned with making well balanced music than being painted into the lonely corner where backpackers await cultural saviors. For example, they delved into the trials and tribulations of the rat race on the aforementioned “Speed,” and the group was unafraid to explore the concept of budding romance on “Nobody But You,” both songs with singing hooks (largely considered an anomaly to “real” hip hoppers. As well, the pink elephant that had become the spoken word coffee house subgenre was eloquently (albeit playfully) picked
apart by Phonte on “The Yo Yo.”

Looking back on the group’s beginnings, Phonte says “I think it was something that was truly God given. We were brought into each others lives to bring our music to the world and hopefully inspire people. We were just happy to be making records.” True to his rapping persona, Big Pooh’s reflections on LB’s start are blunt and edgy as he states “I just see a lot of youth and naiveté. We were at the front of the whole acts getting recognized and signed via the internet movement. We helped make it ok for cats to make music being themselves.”

Though The Listening was widely considered brilliant breath of fresh air, its title track was stark irony as ABB Records showed a considerable lack of concern in promoting and distributing the group. Shooting for the stars and signing with Atlantic Records, the group’s grittier sophomore effort The Minstrel Show wasn’t granted much more favor, leaving fans baffled at labels refusing to push the envelope and break true talent.

To make matters worse, the heads of programming at BET reportedly said the video for The Minstrel Show’s single “Lovin It” was too intelligent to receive airplay. Like any embattled warrior in combat, a fed up Phonte took the network and his labels to task with hisscathing verse from “Boondock Saints.” This song was featured on Separate But Equal, a mixtape that could be considered the start of what became the group’s DIY mindset, as it spread their name where
corporate interests failed to. Regarding their music industry woes, Big Pooh says “The music business is 95 percent business and 5 percent music.” Phonte concurs, saying “The main thing I learned is that no label will work as hard for you as you will work for yourself. Ultimately, being signed to any type of label just ain't the move for me.”

Since Little Brother’s initial foray, 9th Wonder has gone on to record with luminaries such as Jay-Z, Mary J. Blige, Destiny’s Child and Ludacris, while Phonte has given mainstream R&B quite the suitable alternative in his Foreign Exchange union with Nicolay and Big Pooh’s burgeoning solo career has kept his name alive in the underground. The group’s MCs joined forces for what was possibly their final hurrah with the 2007 album Getback. No less stellar than any of their
extensive catalog up to that point, there was the notable absence of producer 9th Wonder from a partnership that once seemed sent from the heavens. With only vague mention made by Phonte on Getback’s “That Aint Love”, the three gentlemen have neglected to go the public route like many of hip hop’s fallouts (i.e. Rocafella Records). Regarding Getback, Phonte says “Me and Pooh were just looking for different sounds and ways to put a new twist on our old formula”, with Pooh remarking “We took a lot of heat with the 9th departure but people realized we were more than capable of still making dope records.”

Going on a decade since their formation, 9th Wonder, Big Pooh and Phonte have come far from their humble beginnings. The producer has gone on to secure multiple label deals to put out his own artists, and while Pooh steadily grinds with his own music, Phonte has become one of urban music’s most ubiquitous figures. Between backing the careers of his Foreign Exchange family, doing countless guest appearances alongside comrades and hosting the thriving Gordon Gartrell Radio podcast, not to mention a reported solo album in the works, you never know where he’ll show up next.

In a word, Little Brother’s music can be summarized as feeling. Each of their songs inspired a range of traits from emotion, introspection and humor and determination to name a few. They rode the fine line between the mainstream and underground, sounding at home alongside everyone from Mos Def to Lil Wayne and stood for the uplifting of hip hop most of all. When asked about their legacy, Phonte says “I'd just want us to be remembered as three cats that made music that everyday people could see themselves in.” Pooh chimes in agreement “I don't think I really understood how many people we actually touched
until after Getback. I get asked no less than 10 times a day about another Little Brother album. Our legacy will be that we consistently put out good music. No matter label situation, group situation, or personal, we kept it fresh.”

Style Soundtrack: 60s Art-Pop

Andy Warhol is not only famous for his soup cans and Marilyn pop-arts, but also for his many muses, such as factory girl Edie Sedgwick and German-crooner Nico. The '60s pop-art phenomenon heavily influenced fashion, illustrated through heavy graphics, Day-Glo tights and stark black and white themes. Think beatnik meets The New York Dolls. Bands like The Velvet Underground and Yellow Tango provided the soundtrack for the blooming new wave era.

Skinny Necktie (www.sourcingmap.com)
Corpus Taper Pant (www.80spurple.com)
Sun Stitiching Men's Ankle Boots (www.lavintage.com)
Jimmy Sunglasses (www.fredflare.com)
Classic Woven Dress Shirt (www.heritage1981.com)

Structured Sleeve Top (www.asos.com)
Pencey Prep Thigh Highs (www.modcloth.com)
Mod Art Skirt (www.forever21.com)
Color Block Flats (www.shopsmv.com)
Time Out Watch (www.modcloth.com)

Oliver Peoples Glasses (www.glassesetc.com)
Levi Skinny Jeans (www.levis.com)
Sailor Stripe Long Sleeve Pullover (shop.americanapparel.net)
Get Outta My Dreams Shoe (www.modcloth.com)
Han Cholo Tie Ring (www.urbanoutfitters.com)
Mossimo Velvet Blazer (www.target.com)

Pyramid Ring (www.forever21.com)
Memphis Boots (www.lavintage.com)
BDG Raglan Sleeve Tee (www.urbanoutfitters.com)
Oasis Geo Monochrome Leggings (www.asos.com)

Wool Beret (www.buy.com)
Spin Art T-shirt (shop.americanapparel.net)
Cotton-Nylon Blend Travel Pant (shop.americanapparel.net)
Midnight Hour Watch (www.modcloth.com)
Hartwick Skimmer Shoe (shop.americanapparel.net)

Good Golly Miss Molly Blazer (www.modcloth.com)
Brown Vintage Bag (www.vintagebag.com)
Necklace (www.forever21.com)
Lace Tank (www.lna.com)
Red Shorts (www.forever21.com)
Arbor Boots (www.modcloth.com)

Speak Easy: Kyra Caruso

Kyra Caruso currently works for Universal Motown Republic Group as the Coordinator of International Marketing and Promotions. Originally from Austria, Caruso got her start right here in Philly, in offices above the Electric Factory.

What is it that you do, exactly?
I work in the International Department of Universal Motown Republic Group where I market and promote artists internationally. In a nutshell, I coordinate promotion and publicity plans with Universal affiliates; maintain all artists' calendars, travel itineraries and budgets. Basically, if a U.S. artist gets signed here, I have to promote and market him/her/them outside of the U.S.

How did you get started with this particular gig?
I got started in the music business after I finished high school in Austria. I promoted parties booking underground hip hop artists, graffiti artists, and break dancers from all over the world. I booked Hieroglyphics, Brand Nubian, Mr. Liv, Wild Child, Peanut Butter Wolf, and artists from Stones Throw Records, The Beat Junkies, and King Britt, to name a few.

How did you end up coming to Philly?
After interning for Loud and Epic Records in NYC in ’99 I decided I didn’t like learning from major labels because they were too big and scattered and one ends up not learning a lot. Through consistently reading album liner notes, I kept finding a Philadelphia based label/management/production company named Axis Music Group, which was affiliated with all the artists I liked and had been listening to in the past. Some of which were Lauryn Hill, Erykah Badu, D' Angelo, The Roots, etc. I found Tayyib, who was part of Axis, and told him I wanted to intern for him. Tayyib, being open to diversity, was fine with me coming from abroad to intern for Axis. So, I made my way from Austria in the summer of 2001 and started my internship at Axis Music Group. I was extremely excited being able to work at Axis because of the music scene that flourished in Philly at that time.

What do you remember from your Axis days?
At Axis my work always varied. I worked on many different albums and projects that helped to expand my resume and knowledge in my field. While living and working in Philly, I would use the city as my point of origin but would go to New York, especially Wednesday nights to go to Rich Medina’s party at APT and I would have to get up early the next morning to travel back.

Who have you gotten to work with through Axis?
James (Poyser), Vikter (Duplaix), Vivian Green but also Ahmir (Thompson), Ursula Rucker and Tye Tribbett. Fun revelations I remember were that Musiq Soulchild turned out to be pretty short and when Jennifer Lopez came to record at Larry Gold's (The) Studio we suddenly had "fancy" toilet paper, scented candles and flowers in the bathroom.

What else have you been up to?
I’ve been promoting parties in New York for the past three years. Every Friday night I host and DJ a party at a place called Cantina, a Latin restaurant and bar. It is fun and it helps me keep my sanity. Furthermore, I have been working on other ventures, such as Blend Media Group, a boutique full-service lifestyle firm that offers marketing, promotion, management, and other services essential to artistic success. New projects are always fun.

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just testing to see if this shit still works...

damn what a waste of data/devloping/money

THIS DOES WORK. WOW

now that we found this we can start and new wave of bloggers. Ones that don't suck. the only problem is that we won't be able to link them to our home page. Unless... we can have a scrolling bar for our blogs. i know i know... wow why didn't we think of this before. lets try to understand what we have now and just work on what we have meow. the image below is just a test... i don't know who the fuck it is.

Kucinich to the house: impeach Bush

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Racist Videogame Trailer?

While extreme prejudice (towards flesh-eating monsters) has always been central in previous installments of the Resident Evil game series, the new trailer for Resident Evil 5 has been accused of going overboard. Decide for yourself.

Disgruntled Employee

One can only wonder what sent this ex-employee over the edge, but at least it got caught on film