If anyone in LA is looking for some kicks tonight, there’s a very cool party happening at a very cool venue featuring some very cool Djs and live painting by my extremely talented friend and noted handsome person Dan Hampe. There are even rumors of an Erin Granat appearance.
It should be, as the cool kids say, a good scene. If I weren’t going here, I’d be there.
Here’s my review of the Jack White show at The Fonda last night, which I wrote at one in the morning while sitting at my desk eating fun-sized Snickers.
Going back in for round two tonight at The Mayan. Stay tuned.
As such, I will now recap a Born In the USA-related story I once heard on a rerun of Biography:
Once upon a time in New Jersey, a friend of Bruce’s was sitting at a bar, drinking and feeling mighty sad. Bruce walks into the bar, asks the friend what’s wrong, and the friend tells Bruce that his father has recently died. Bruce asks his friend to give him the red baseball cap that the friend is wearing. The friend is confused, but he does it. Bruce says “every time you see this hat, I want you to think of your father.”
A few weeks later, Born in the USA is released. The friend picks up the album and sees his red hat sticking out of Bruce’s back pocket on the cover.
And if anyone cares, this is my favorite song on Born In the USA, for reasons related to both taste and nostalgia.
(It must also be noted that minute 0:35 of this music video is the stuff that dreams are made of.)
Jimmy Page and John Stamos looking TGIF casual.
jam of the day:
As I have mentioned here 3,893 times before, Dave Harrington is the guy from Darkside who is not Nicolas Jaar. (Once I spoke with him on the telephone about about Tom Waits and other things.) This solo EP of his, the loftily titled Before This There Was One Heart But A Thousand Thoughts, makes his influence on Darkside pretty obvious, as these two tracks have the same sort of deconstructed, super deep, cleanly psychedelic space noise thing that largely defines Darkside’s sound happening as well.
Really though, those are just a bunch of bullshit adjectives that I’m using to try and say that these songs are tremendous and I love them.
I would often look at her onstage and say, ‘I can’t believe she’s up there.’ I don’t think she understood how important she was to the band, and to me and to music. She was the antithesis of a modern drummer. So childlike and incredible and inspiring. All the not-talking didn’t matter, because onstage? Nothing I do will top that.
—Jack White, on Meg White