Core Dump

Labels: music

Oddly enough, the Dead’s influence on the business world may turn out to be a significant part of its legacy. Without intending to—while intending, in fact, to do just the opposite—the band pioneered ideas and practices that were subsequently embraced by corporate America. One was to focus intensely on its most loyal fans. It established a telephone hotline to alert them to its touring schedule ahead of any public announcement, reserved for them some of the best seats in the house, and capped the price of tickets, which the band distributed through its own mail-order house. If you lived in New York and wanted to see a show in Seattle, you didn’t have to travel there to get tickets—and you could get really good tickets, without even camping out. “The Dead were masters of creating and delivering superior customer value,” Barry Barnes, a business professor at the H. Wayne Huizenga School of Business and Entrepreneurship at Nova Southeastern University, in Florida, told me. Treating customers well may sound like common sense. But it represented a break from the top-down ethos of many organizations in the 1960s and ’70s. Only in the 1980s, faced with competition from Japan, did American CEOs and management theorists widely adopt a customer-first orientation.

As Barnes and other scholars note, the musicians who constituted the Dead were anything but naive about their business. They incorporated early on, and established a board of directors (with a rotating CEO position) consisting of the band, road crew, and other members of the Dead organization. They founded a profitable merchandising division and, peace and love notwithstanding, did not hesitate to sue those who violated their copyrights. But they weren’t greedy, and they adapted well. They famously permitted fans to tape their shows, ceding a major revenue source in potential record sales. According to Barnes, the decision was not entirely selfless: it reflected a shrewd assessment that tape sharing would widen their audience, a ban would be unenforceable, and anyone inclined to tape a show would probably spend money elsewhere, such as on merchandise or tickets. The Dead became one of the most profitable bands of all time.

It’s precisely this flexibility that Barnes believes holds the greatest lessons for business—he calls it “strategic improvisation.” It isn’t hard to spot a few of its recent applications. Giving something away and earning money on the periphery is the same idea proffered by Wired editor Chris Anderson in his recent best-selling book, Free: The Future of a Radical Price. Voluntarily or otherwise, it is becoming the blueprint for more and more companies doing business on the Internet. Today, everybody is intensely interested in understanding how communities form across distances, because that’s what happens online.

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December 14, 1980. Having “had a sit back” (Ringo) after Eventually’s staggering success and taken time to concentrate on their own projects and personal lives, the Beatles make their first televised appearance as a group since the SNL reunion, appearing on The Muppet Show. (Lennon leaves New York for the first time in six months to do the gig, eventually spending the entire month of December in England.) The episode is the highest rated episode of The Muppet Show in the show’s history and the most watched television program of the entire year, beating even the news coverage of the 1980 American presidential election. The undisputed highlight of the episode is the “battle of the bands” between the Beatles and the Electric Mayhem (although Starr says his duet with Fozzie the Bear remains his personal favorite moment). Jim Henson would later say that the Beatles episode “rejuvenated” his joy in working on the show, which by that point he had begun to feel was growing stale: the show continues for another seven seasons.

January 7th, 1981. Lennon, Harrison and Starr attend the funeral of a New Yorker named Mark David Chapman, who committed suicide in mid-December and whose apartment, after the fact, was revealed to be a shrine to the Beatles. “I just felt, you know, responsible somehow, like he died because of us,” says Starr, although he refuses to articulate further on this point. Harrison agrees: “it’s amazing to think how great an impact we can have sometimes. You just want it so that you don’t have this kind of impact.” Lennon says nothing.

August 5th, 1981. The announcement of Neither Here Nor There, the new Beatles album, is less shocking than the announcement of Eventually – the previous announcement taught Beatles fans to “watch the signs” and rumours of Lennon and McCartney spending time in the studio have been swirling for months. The success of Lennon and Yoko Ono’s Double Fantasy had previously led some to wonder if the Beatles were once again finished; Lennon dismisses such talk soon after the press release, complaining that people “just don’t seem to understand” that the group has figured out how to continue working together without the self-destructive fights.

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I approached TRO first, sending them the score I'd written for concertina and voice, which contains many annotations specific to my purpose as well as modifications to the tune's melody and chords. A few weeks later I received a letter from TRO. "We are enclosing our music copy of I AIN'T GOT NO HOME," they wrote, "and request that you use the "words and music" from the enclosed copy in your book." The following page contained a photocopy of the melody line of Woody's lyric from what looked like a children's book, accompanied by a cartoon of a guy's butt protruding from the front door of a house.

As TRO was evidently unwilling to discuss the particulars of my arrangement, I decided, regretfully, to remove Woody's lyrics from the score.

I approached HFA next about securing a mechanical/digital license, hoping for a better resolution. Their website, HarryFox.com, boasts an automated fee calculator called SongFile, which represents over two million songs. The standard fee is 9.1 cents per copy up to 2,500 copies; beyond that, a non-automated license must be negotiated.

My previous album, The Devil's Dreamworld, has thus far been downloaded from the Internet Archive fifty thousand times. Were a similar number of downloads to accrue, at the 9.1-cent-per-copy rate, for my version of "I Ain't Got No Home," I'd owe HFA almost five thousand dollars, though my use will have generated no income for me.

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It was such a positive experience last Summer when Steve Wynn and the Miracle 3 performed The Days of Wine and Roses at Maxwell’s. We were so impressed at the quality of the playing and the energy that the entire show was a revelation. Last night at Bell House, The Miracle 3 were even better in their start-to-finish performance of The Dream Syndicate’s The Medicine Show. This was one of the best, if not the best, concert we have seen this year. Steve was in fine form vocally and on the guitar and the band absolutely smoked. As the band approached the penultimate song on the album “John Coltrane Stereo Blues”, Steve joked about how it was time to jam — and they certainly did. “Coltrane” was over 12 minutes of guitar shredding, instantaneous tempo changes, and ultimately cacophony. The remaining six songs (three from Wine and Roses and three Miracle 3 numbers) were pure enjoyable icing. It felt as if there wasn’t a midnight show in the venue that the band would have played all night.

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The meeting, which was not on the president's official schedule, was a surprise for the band, arranged by a plugged-in friend. The current lineup (surviving founding Grateful Dead members Bob Weir, Phil Lesh, Mickey Hart and Bill Kreutzmann, along with fill-ins Warren Haynes and Jeff Chimenti), some joined by their wives, met with Obama for about 15 minutes, chatting amiably about the history of the Oval Office and the pjavascript:void(0)resident's desk.

Then it was on to a much longer visit with senior staff. While the president has never been to a Dead show, the officials they met with next -- senior advisers David Axelrod and Pete Rouse and Deputy Chief of Staff Jim Messina -- are said to be big fans who had plans to attend last night's Verizon Center show. "They talked about a lot of different issues," said our source, "the environment, climate change." (And, maybe, like, who's got the best collection of bootlegs?)

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DAVID LEMIEUX has been the tape archivist and CD producer for the Grateful Dead’s official archival releases since 1999. Mr. Lemieux said he has listened to the Cornell concert “virtually weekly” since the late ’80s.

What’s so great about that show? I asked him.

The group had just finished making the studio album “Terrapin Station,” which included a long and intricate suite sharing the album’s title; it was well practiced. Garcia had just completed editing of “The Grateful Dead Movie,” a concert documentary of sorts, and a long and costly ordeal. Perhaps the members felt unburdened and retrospective: the set list made an even sweep of the band’s career up to that point, from the early-repertory “Morning Dew,” with its cathartic but carefully paced five-minute solo by Garcia, to the up-to-date “Estimated Prophet.” (Much has also been made, by those who were there, about the Fátima-esque appearance of snow on that May evening.)

Mr. Lemieux characterizes the recording as the Dead concert one would likely want to pass on to the most people: it pleases the most tastes. But the Cornell tape also reached a critical number of people at a critical moment. Almost 10 years after the concert, a cache of soundboard tapes made by Betty Cantor-Jackson, the Dead’s live recording engineer, were scattered far and wide when her house in Nicasio, Calif., went into foreclosure and her possessions were sold at public auction.

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Opening with the aching, sensuous “Dance Me To the End of Love,” Cohen set the tone for the evening. Almost immediately he dropped to his knees (a maneuver he would repeat many times during the performance) to deliver seductive lyrics like “show me slowly/what I only/know the limits of” in a weathered voice that has aged beautifully, its slightly deepened rasp somehow reinforcing the pervasive melancholy that inhabits a preponderance of his songs (editorial note: for an incredible reading of “Dance Me to the End of Love,” check out the modern day Billie Holiday, Madeleine Peyroux, whose smoky version of the tune is on her 2004 album Careless Love).

Next up was “The Future,” in which Cohen has apparently changed one powerful word, thus altering the impact of the song’s best couplet. In its recorded version, which appears on the early 90’s album of the same name, he sings “Give me crack/anal sex/take the only tree that’s left/stuff it up the hole/in your culture.” Last night he changed “anal” to “careless,” attenuating slightly the lyrical oomph of the tune, but perhaps few noticed. Who knows, maybe his recent, five-year Monastic retreat has mellowed Cohen’s mind.

In any event, highlights of the evening were many. One memorable second-set tune was “Hallelujah,” a song made most famous by Jeff Buckley, but also covered by many others, including Rufus Wainwright and John Cale. In his own rendition last night, Cohen appeared to be reading the lyrics from a small teleprompter leaning against one of his on-stage monitors, but this was more of a trifle than a major complaint.

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Friday's was their first show since an amicable split that turned out to be more burnout therapy than the end to their 20-year run on the road. They shrugged or laughed off minor flubs and moments of rustiness that, in the past, might have thrown them into a set-long funk of sloppy indifference.

Instead, Phish kept on moving like a tremendous machine through its two-decade song catalog, touching on material from at least eight albums and throwing in quite a few live favorites that never found a home on one, from the euphoria of "Harry Hood" to the mountain romp "Possum."

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Says Trey Anastasio, "We really wanted to show our gratitude to all the Phish fans for their support and the overwhelming response they've had to these shows. It's going to be an amazing celebration and we only wish everybody could be there," Phish will be recording the Hampton shows in a mobile multitrack studio, and mixing the shows overnight for immediate delivery on LivePhish.com. 256kbps MP3s will be available for free download for a limited time. FLACs and CDs are also available.

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Of the half a dozen engineers and producers interviewed for this story, none could remember a pop recording session in the past few years when Auto-Tune didn't make a cameo--and none could think of a singer who would want that fact known. "There's no shame in fixing a note or two," says Jim Anderson, professor of the Clive Davis department of recorded music at New York University and president of the Audio Engineering Society. "But we've gone far beyond that."

Some Auto-Tuning is almost unavoidable. Most contemporary music is composed on Pro Tools, a program that lets musicians and engineers record into a computer and map out songs on a visual grid. You can cut at one point on the grid and paste at another, just as in word-processing, but making sure the cuts match up requires the even pitch that Auto-Tune provides. "It usually ends up just like plastic surgery," says a Grammy-winning recording engineer. "You haul out Auto-Tune to make one thing better, but then it's very hard to resist the temptation to spruce up the whole vocal, give everything a little nip-tuck." Like plastic surgery, he adds, more people have had it than you think. "Let's just say I've had Auto-Tune save vocals on everything from Britney Spears to Bollywood cast albums. And every singer now presumes that you'll just run their voice through the box."

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A vast wall of swirling static dances on a giant screen as Trent Reznor and his band launch into their song, "Only." Initially obscured by this sea of visual white noise, the Nine Inch Nails front man intermittently appears to push through the particles of snow with his hands and body, popping in and out of view and opening up random tunnels in the chaos.
"Sometimes, I think I can see right through myself," he sings.

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In what could be the most impressive demonstration I've seen in 11 years of covering digital music technology, Neubäcker records himself playing the guitar, uses DNA to separate the chords into six individual notes, and then plays them using a keyboard, all in a matter of about a minute.

While Melodyne enabled anyone to sing in tune, Direct Note Access' effect will likely be far more widespread. Any one of us will technically be able to create a guitar-based song by strumming all of the open strings on a guitar then editing the resulting chord to play whatever we want. Talk about your democratizing technology.

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Dying is a funny subject. Very slippery when you try to get in there. I mean, I am dying now, am I not? But for me, dying represents more like that moment in the play where the actor clutches his throat and falls to the ground in a dramatic display, possible two or three times. That moment of passage which caused Nathaniel Webster to utter as his last words (paraphrased): “I die. I am dying. Both are used.” Right now it feels as though I am living, and rather intensely at that. So we could say that we are all dying, because in fact we are. We are all heading there. But that becomes very abstract, and believe me, it is not less abstract for me right now than for any of you. So that kind of leaves me back at square one in terms of my grasping of what is happening on a daily basis.

Sometimes I think of dying as taking a trip, a trip far away to a place from which I cannot come back. We all know people who do that…. move to Tasmania. (great place, by the way…) The point is, we wish these people well on their journey, but we don’t get all choked up and overwrought about it. We remember them fondly, and they live on in our memories through stories and the legacy they have left. We toast them in absentia, and hope they are doing well in their new digs. Well, my whole journey feels a bit like that. I am going to this place we will all go, and my travel plans are just a bit more immediate than yours. (Though life is strange, and I still might not be the first to go. Just be careful crossing those streets and driving those cars, folks.) I think a lot in terms of metaphors to help me understand things. I have been informed by the stationmaster that my train is coming in immanently, and that I should be ready to get on board when it does. But until that train comes, I am still doing what I am doing fully and completely.

Don't look at what you don't have. Make sure your glass is half full, not half empty. This is a stance you take in life. It is not a random attitude. But with just a little bit of practice, that becomes an attitude you can easily stick to. Lets put it this way. If I can think like this in my present position, I would hope that you all can do the same. I would even ask you to do this for me. Take that stance in life for me and from me, and concentrate always on the positive.

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The Moog Guitar Paul Vo Edition has infinite sustain -- enough to keep Nigel Tufnel holding the guitar up to his ear until the end of time -- while a muted mode allows players to add the sound of their fingers holding down the strings loosely and then taking them away from the strings right away after the strum for a banjo-type sound. These effects operate separately on each pickup, giving players a wider range of sonic options.

The special sauce: strings that have "a specific metallurgy designed to work with the Moog pickups." Marketing manager Chris Stack told Listening Post, "the pickups are simultaneously listening to the strings and controlling them."

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And you, to whom adversity has dealt the final blow
With smiling bastards lying to you everywhere you go
Turn to, and put out all your strength of arm and heart and brain
And like the Mary Ellen Carter, rise again.
Rise again, rise again - though your heart it be broken
And life about to end
No matter what you've lost, be it a home, a love, a friend.
Like the Mary Ellen Carter, rise again.

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The new tool promises to give musicians and producers powerful new ways to manipulate recordings both old and new.

It might let studio engineers peer inside a chord-heavy rhythm-guitar part and nudge individual notes into tune. Or it could let them salvage unheard takes by classic musicians like Duke Ellington or Jimi Hendrix, left unreleased due to out-of-tune instruments or misplayed notes. It will certainly give musicians new ability to sculpt sound, such as prerecorded samples or loops, as if they were modeling clay.

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19 The industry kills the single—and begins its own slow demise
In the early ’80s, the music industry began to phase out vinyl singles in favor of cassettes and later, CDs. Then, since it costs the same to manufacture a CD single as a full album, they ditched the format almost altogether. But they forgot that singles were how fans got into the music-buying habit before they had enough money to spend on albums. The end result? Kids who expect music for free. “Greed to force consumers to buy an album [resulted] in the loss of an entire generation of record consumers,” says Billboard charts expert Joel Whitburn. “People who could only afford to buy their favorite hit of the week were told it wasn’t available as a single. Instead, they stopped going to record shops and turned their attention to illegally downloading songs.”
Unintended consequence The Eagles still top the album charts.

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Trent Reznor explains, "I've been considering and wanting to make this kind of record for years, but by its very nature it wouldn't have made sense until this point. This collection of music is the result of working from a very visual perspective - dressing imagined locations and scenarios with sound and texture; a soundtrack for daydreams. I'm very pleased with the result and the ability to present it directly to you without interference. I hope you enjoy the first four volumes of Ghosts."

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Healey's guitar prowess was characterized by a unique playing-style that saw him lay the instrument across his lap.

It led him to share stages with such rock luminaries as George Harrison, Stevie Ray Vaughan and B.B. King, but Bray said jazz allowed him to exercise his other instrumental talents such as trumpet and drums.

Healey's love of jazz also led him to host radio shows on the CBC and a local Toronto station where he spun long-forgotten numbers from his personal collection of over 30,000 vinyl records.

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I'm sitting here waiting for the winter to die
Well sometimes I hope I never make it through
And the things that I believe aren't about to fight
With the things I know inside are true

All the friends that I have had
Or misplaced along the way
No amount of energy could ever bring them back
It weighs down on me like a ton
It never was no fun
But I never meant to do any harm

Drifting snow around my window
Drifting snow around my door
Drifting snow around my brains Lord
Won't be no drifting anymore

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A sixty year-old concert bootleg, made on a broken and twisted old magnetic wire earned a bunch of audio engineers and a mathematician a Grammy last night for their skills in recovering destroyed music. The audio recording on the wire was so distorted, and the wire broken so many times, that the team had to invent whole new techniques to process the music back to listenable quality. The result: the only live recording of old time folk-singer Woody Guthrie.

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• Pearl Jam
• Metallica
• Jack Johnson
• Kanye West
• Robert Plant and Alison Krauss Featuring T Bone Burnett
• Phil Lesh & Friends
• The Allman Brothers Band
• Willie Nelson
• B.B. King
• Sigur Ros
• Levon Helm and the Ramble on the Road
• Ben Folds
• Umphrey's McGee
• Derek Trucks & Susan Tedeschi's Soul Stew Revival
• Broken Social Scene
• Robert Randolph's Revival
• Drive-By Truckers
• Ghostland Observatory
• Jose Gonzalez
• Dark Star Orchestra
• Minus the Bear
• Donavon Frankenreiter
• Lez Zeppelin (no, it's not a typo)
• Little Feat

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Over the past decade and a half, a revolution in recording technology has changed the way albums are produced, mixed and mastered — almost always for the worse. "They make it loud to get [listeners'] attention," Bendeth says. Engineers do that by applying dynamic range compression, which reduces the difference between the loudest and softest sounds in a song. Like many of his peers, Bendeth believes that relying too much on this effect can obscure sonic detail, rob music of its emotional power and leave listeners with what engineers call ear fatigue. "I think most everything is mastered a little too loud," Bendeth says. "The industry decided that it's a volume contest."

Producers and engineers call this "the loudness war," and it has changed the way almost every new pop and rock album sounds. But volume isn't the only issue. Computer programs like Pro Tools, which let audio engineers manipulate sound the way a word processor edits text, make musicians sound unnaturally perfect. And today's listeners consume an increasing amount of music on MP3, which eliminates much of the data from the original CD file and can leave music sounding tinny or hollow. "With all the technical innovation, music sounds worse," says Steely Dan's Donald Fagen, who has made what are considered some of the best-sounding records of all time. "God is in the details. But there are no details anymore."

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The second tipping point is the decisive migration of music to the Internet. Of course that has been anything but sudden. Music has been bouncing around online, sold or shared, since the days of dial-up, and bands like Smashing Pumpkins and Public Enemy gave away full albums online years ago. But the momentum of online music has been accelerating. Apple’s iTunes became the third-largest music retailer in the United States this year. Amazon added MP3 downloads alongside physical album sales. Hip-hop mixtapes, singled out for copyright prosecution by record labels, disappeared from stores and street corners only to thrive online, where the likes of Lil Wayne, Cam’ron and Kanye West release their latest innovations.

And Radiohead was able to draw worldwide attention to “In Rainbows” with no more promotion than a modest 24-word announcement on its Web site on Oct. 1. To the band’s glee, it could release its music almost immediately, without the months of lead time necessary to manufacture discs. Mr. Hufford said “In Rainbows” has been downloaded in places as far-flung — and largely unwired — as North Korea and Afghanistan.

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Ticketmaster, the subsidiary of the IAC/Interactive Corporation that bills itself as the biggest seller of concert and sports tickets in the world, is also facing questions from angry fans and has sent representatives to meet with state and local officials. They argue, in part, that the number of tickets available to the public at a concert is often far less than the total number of seats in the arena.

Ticketmaster has also filed a lawsuit in Federal District Court in Los Angeles against a software company based in Pittsburgh, RMG Technologies, and several ticket brokers contending that they have discovered a way to get around Ticketmaster’s defenses.

They “are bombarding Ticketmaster’s Web site with millions of automated ticket requests that can constitute up to 80 percent of all ticket requests made,” Ticketmaster states in its suit. These actions deny “the public access to tens of thousands of tickets so that RMG’s customers can purchase and resell those tickets to the same public at inflated prices,” it contends.

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When even the full files on the CDs contain less than half the information stored to studio hard drives during recording, these compressed MP3s represent a minuscule fraction of the actual recording. For purists, it's the Dark Ages of recorded sound.

"You can get used to awful," says record producer Phil Ramone. "You can appreciate nothing. We've done it with fast food."

Ramone, who has recorded everyone from Frank Sinatra to the Rolling Stones, was a musical prodigy who graduated from Juilliard at 16. He won the first of his nine Grammys in 1965 for the classic album "Getz/Gilberto." He is not alone in the upper ranks of his profession in decrying the state of audio, even though millions of dollars have been spent building high-tech digital recording studios.

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Fast-forward four decades, and recently discovered tape recordings of Gunnarson's works form the basis of a touring song-and-dance performance, IBM 1401: A User's Manual. The show was composed by Gunnarson's son Jóhann Jóhannsson, with interpretive dance choreographed by Erna Omarsdotti, whose father is another IBM alum.

The work, named in part for a companion recording of a voice reciting the manual for an IBM 1403 printer, was performed in Wales, Tokyo, Copenhagen and Belgium this summer. Part of the original 1401 recordings were scored for a 60-piece orchestra, which Jóhannsson has adapted for piano and Hammond organ. Omarsdotti's mechanistic body movements channel the whirring of the primitive machines -- music to the ears of fellow IBM-heads.

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Brandenburg's involvement in digital music compression began in the early 1980s when he was a doctoral student at Germany's University of Erlangen-Nuremberg. A professor urged Brandenburg to work on the problem of how to transmit music over a digital ISDN phone line. It wasn't just a computer coding problem. Brandenburg had to immerse himself in the science behind how people perceive music.

That was where Suzanne Vega came in. Her song Tom's Diner, though seemingly a simple ditty, proved devilishly difficult to reproduce without annoying background noise. "Suzanne Vega was a catastrophe. Terrible distortion," Brandenburg recalls. "The a cappella version of Tom's Diner was more difficult to compress without compromising on audio quality than anything else."

When MP3 developers refined the technology to the point where Tom's Diner sounded true to the original, they had made a major breakthrough. "I've listened to this 20 seconds [of Tom's Diner] a thousand times. I still like the music," says Brandenburg, who met Vega years later when both attended an event in Cannes to mark the creation of MP3.

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Gazing at all these pictures of beautiful, ancient, analog gear, I felt like a character out of Blade Runner looking at a pictures of real animals after they had gone extinct (nearly) and been replaced by clones. The equipment at Abbey Road and the other studios chronicled in the book has a magical feel to it that's impossible to replicate in a software interface.

It belongs to an opulent, if ramshackle, analog recording age that will never return. With the music industry's shrinking budgets and growing reliance on digital technology, who can afford teams of amp room technicians in white lab coats, or studio attendants in brown ones? For that matter, where do you even buy 2-inch tape anymore?

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The Police • Tool • Widespread Panic • The White Stripes • Ben Harper & the Innocent Criminals • Wilco • The Flaming Lips • MANU CHAO Radio Bemba Sound System • The String Cheese Incident • Franz Ferdinand • Bob Weir & Ratdog • Damien Rice • Ween • Gov't Mule • Ziggy Marley • The Decemberists • Kings of Leon • Michael Franti & Spearhead • Wolfmother • Regina Spektor • The Black Keys • Galactic • DJ Shadow • Gillian Welch • Spoon • Keller Williams (WMD'S) • Sasha & John Digweed • STS9 • Old Crow Medicine Show • The Hold Steady • Lily Allen • North Mississippi Allstars • Fountains Of Wayne • Hot Tuna • Feist • Hot Chip • John Butler Trio • Ralph Stanley & the Clinch Mountain Boys • Aesop Rock • The Richard Thompson Band • Dierks Bentley • James Blood Ulmer • Xavier Rudd • Gogol Bordello • Junior Brown • Tortoise • T-Bone Burnett • Mavis Staples • Clutch • Cold War Kids • Dr. Dog • Paolo Nutini • Brazilian Girls • RX Bandits • The Nightwatchman • The Slip • Girl Talk • Railroad Earth • Martha Wainwright • Rodrigo y Gabriela • Annuals • Tea Leaf Green • Sam Roberts Band • Elvis Perkins in Dearland • Charlie Louvin • Sonya Kitchell • Mute Math • Apollo Sunshine • Uncle Earl • The National • The Little Ones • Black Angels • Ryan Shaw • Lewis Black & Friends • Dave Attell • David Cross •

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