“The View From Nowhere” - Spinning an Eclectic Mix of House Music & Electro, Spanning the Most Soulful to the Most Distorted

2nd Anniversary Episode

Featured on KSCR Radio (http://kscr.org,1560AM)
Air Date: 07-01-2010 8pm-12:00am
Location: Underground Café
In Studio Guests: DJ Soca (http://twitter.com/djsoca), Joker Pace (www.jokerpace.com) Number 9 (http://clubsoda.fm), Glitch (http://myspace.com/levonproduction)

Info:

This episode marks two important milestones. First, the View From Nowhere celebrates 2 years of musical bliss with its anniversary edition. Second, after 26 years, KSCR is moving from its original location to its brand new studios. Thank you to everyone that has supported the show. Music Sounds Better With You.
- VFN

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Part 1/2 (VFN Mix)
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Part 2/2 (DJ Soca Mix & VFN Finale)
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Tracklist
VFN/WDPK Intro
Willy Wonka – Pure Imagination Intro (WDPK Bootleg)
Annie – Anthonio (Fred Falke remix)
Alexander Pope – Eloisa to Abelard (Eternal Sunshine of the Spotless Mind)
Deadmau5 – Strobe
LCD Soundsystem – Get Innocuous (Soulwax Remix) (sample)
Pryda – Balaton
Pryda – Frankfurt
Tyler Durden – You Are Not Your Job
Ray Mang – Look Into My Eyes
Joel Goodson – Time Of Your Life (Risky Business)
Mario Basanov – Do You Remember (Arithmatix Mix)
House of House – Rushing to Paradise
Dennis Ferrer – Hey Hey (DF’s Attention Vocal Mix)
Sébastien Tellier – L’amour et la Violence (Boys Noize Euro Mix)
Bingo Players – Get Up (Diplo Remix) (sample)
Crookers – Gypsy P
Yolanda Be Cool & Dcup – We No Speak Americano
Simian Mobile Disco – It’s the Beat (sample)
Paul Johnson – Summer Heat
Gary’s Gang – Do it at the Disco
Gramophonedzie – Brazilian
Gramophonedzie – Why Don’t You
Roy Davis Jr. – Rock Shock (Thomas Bangalter “Stop Start” Mix)
Bag Raiders – Shooting Star
Grum – Can’t Shake This Feeling
PNAU – Baby (Breakbot remix)
Bag Raiders vs. Sammy Bananas – Fun Punch (feat. Carrie Wilds)
Armand Van Helden – I Want Your Soul
Pointer Sisters – Dare Me (Diizy’s Party Edit)
Crydajam – Playground
Freemasons feat. Amanda Wilson, Axwell – Love On My Mind
Daft Punk – Rollin’ and Scratchin’ (sample)
Pryda – Wakanpi (DJ DLG Re-Edit)
Siriusmo – High Together (sample)
Eric Prydz – Pjanoo
Yazoo – Don’t Go
Yazoo – Don’t Go (Bailey & Rossko Mix)
Chic – I Want Your Love (Holic Aftermash)
Scenario Rock – Skitzo Dancer (Justice Remix) (sample)
Phoenix – Lisztomania (Classixx Version)

DJ Soca LIVE In-Studio Mix
Londonbeat – I’ve Been Thinking About You
Metro Area – Miura
Simian Mobile Disco – Hustler
Technotronic – Pump the Jam
Presets – This Boys In Love (Lifelike Remix)
Slam - We Doin’ This Again?
Denis Naidanow feat. Tyree Cooper – Wonderland
Dragonette – Competition (Ocelot Remix)
Basement Jaxx – Romeo (Ryback remix)
Tyree – Video Crash
Mylo – Drop the Pressure (Rex the Dog Remix)
Klaxons – Gravity’s Rainbow (Soulwax Remix)
Ali Love - Secret Sunday Lover (Tom Neville Remix)
Dusty Kid – The Cat
Fukkk Off - Rave Is King (Original Mix)
Josh One - Contemplation (Alex Neri Road Trip Remix)

Audion – Mouth to Mouth
The Paradise – In Love With You
Alan Braxe – In Love With You (Axel Le Baron edit)
Stardust – Music Sounds Better With You
Chuck Roberts – My House (Let There Be House)
Mylo – In My Arms (Tocadisco Remix)
Fantom – Faithful
Ugod – Ugodzilla (Yuksek Remix)
MSTRKRFT – Easy Love
Russ Chimes – Mulsanne
Together – Together
Daft Punk – Around the World (Kid Dub Remix)
Daft Punk – Around the World (Original)
Da Mongoloids – Spark Da Meth (Bangin Like A Benzi Mix)

FEATURED ARTIST:
House of House - Rushing to Paradise
www.myspace.com/house0fhouse

“The View From Nowhere” is a weekly show airing on KSCR Radio in Los Angeles

One week of the year, music lovers from all over the world descend upon Miami for the largest music industry gathering of its kind, the Winter Music Conference. Frequented by those in the dance & electronic community, the WMC is host to a myriad of artists, DJs, record label representatives (A&R), producers, promoters, radio and media professionals.

Beyond the conference, surrounding Miami is home to an array of events across the city, including the Ultra Music Festival. Whether you’re sitting down for some authentic Cuban food, or enjoying a nice cohiba poolside, it’s nearly impossible this week to avoid the infectious sound that is the house beat.

KSCR’s own DJ Ahmar aka VFN recently returned from “The Magic City” with a grab bag of promos and new music.

Click Here to view the photos through our friends at Club Soda. Photos taken the weekend of March 26th at the Winter Music Conference, as well as Ultra Music Festival in Miami, Florida.

Big thanks to Paradax Records, Beatport, RVNG Intl, The Opium Group, X-MiX Productions and countless others that make Miami as legendary as its reputation has earned.

The View From Nowhere” airs Tuesday nights from 10PM to Midnight, right here on KSCR.

When In Rome – Movie Premiere (1/27)

Often times, the expression “When In Rome” is misused by powerful celebrities like Ron Burgundy.

Well, we here at KSCR are not in the business of misinforming. Instead, we have Red Carpet Tickets for the Disney movie, “When in Rome” starring Kristen Bell (Forgetting Sarah Marshall, Veronica Mars) and Josh Duhamel (Transformers) that we’re looking to give away!

Trailer:

The Premiere is on Wednesday, January 27th at 7:00pm. If anyone is interested, please respond via the blog or the KSCR Twitter with your name and e-mail address no later than Monday morning (1/25). 2 pairs of tickets to the red carpet premiere (actors will be there) await for the first listeners to respond. But it doesn’t end there, there are also another 5 pairs of tickets for runner-ups for an advanced screening so hit us up!

Drew Carey Benefit Show at The Hollywood Improv (1/24)

Movies not your thing? Well then, how about a comedy show at the legendary Hollywood Improv this Sunday (1/24) with Drew Carey (Whose Line Is It Anyway?, The Price Is Right) and 6 other really funny comedians! All proceeds will be donated to Relief International in aid of Haiti. Enjoy an evening of laughs while raising funds for a great cause!

Again, reply either to this message with your name and e-mail address or via the KSCR  Twitter.

And finally, since KSCR loves music, why not end this post with an appropriate song?

When In Rome – The Promise

Get Ready for Another Great Season of Programming here at KSCR.

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Disclaimer: If the respective artists wish to have these uploads removed, please contact publications@kscr.org and content will be taken down.

TODAY at 4 on the USC Campus between Bovard Auditorium and Taper Hall

(Judas Priest reference in the title there…)

12:30 AM, Saturday night.  I was debating between going straight home after leaving my friend’s place and stopping at another friend’s for a party…just for a second…maybe one drink…

Seriously, just one.  Oh COME on, quit judging me…

I was riding down 29th Street on my Bianchi road bike when I decided to call my friend to see if her shindig was still going on, so I stopped at 29th and Menlo.  As the call started to go through, I noticed a mass of 40 to 50 bicycles approaching with little lights twinkling like diamonds.  I knew those bicycles had to be the Midnight Ridazz…

* * * * * * * * * *

Midnight Ridazz = a party on wheels.  Power in numbers, in two wheels we trust.  Riding with friends and having a beer without ever stopping at a bar (or stopping in general).  Just looking for an escape on a cool weekend night in LA.  Dancing to music from a sound system pulled by a bike trailer–one hand in the air, the other on a brake lever (or maybe you don’t have brakes, you fixie hipster–yeah, I went there).

And the journey itself is the only destination.

Midnight Ridazz started one night in 2004 when a group of eight friends in Echo Park were bored and decided to make a bit of an event out of their usual trip to the bar.  They biked through Downtown and surrounding areas on a tour of local fountains.

The group of friends turned into a mass of people in a matter of years, almost exclusively by word of mouth.  With the growth of cycling between 2004 and 2008, especially road and fixed-gear cycles, the group exploded; eight people became (in some cases) eight hundred, and rides couldn’t be organized by a few people.

Now, anyone can organize their own ride on the Midnight Ridazz website and see who else is organizing theirs.  Typically the rides are 20 to 40 miles at a slow to medium pace, often taking place in Echo Park, Downtown, or Hollywood–many times, all of these places in one night.

The explosion of alternative bike culture around the United States has spawned an entire culture around late night rides.  Midnight Ridazz isn’t the only late night ride in Los Angeles anymore.  Besides the dozens of smaller rides throughout the week, there are major staples in the diet of late night LA rides.

Monday, there’s the now-legendary Wolfpack Hustle: unless you’re mad into lycra and have Tour de France aspirations, this is probably the fastest ride in the United States.  Tuesday, Bicykillers in the San Fernando Valley–don’t ask me the details of the ride, thems Valley folk.  Wednesday, the Koreatown Forge and Gorge: pedal reasonably fast, eat shittons of food–what more in life is there?  Last Friday of every month, Critical Mass: arguably the largest and most famous ride because it takes place all over the world on the same day: young, old, hipsters, business people…all out for a slow-paced joyride throughout their respective metropolises.  The Saturday after the third Friday of each month, C.R.A.N.K. MOB, a self-proclaimed “monthly bike ride dance party masquerade carnival sextravaganza”: more party than ride, but it’s all the same in the end, really.

But of course, there’s the classic ride: the Midnight Ridazz Friday night rides.

* * * * *

Come to think of it, my first ride was a Midnight Ridazz ride.  The “Mother of All Rides” in mid-March was a glorified scavenger hunt.  Two people dressed in egg costumes hid throughout a moderately-sized section of Hollywood.  Four groups, each with about a hundred to two-hundred riders, went on a hunt for the “eggs.”  Once found, the winning groups got spoke cards: collectible momentos as proof of going on a ride, to be proudly displayed in the spokes of your bike wheel. (And no, it’s not like putting baseball cards in your spokes when you’re a kid because you wanted your bike to sound like a motorcycle.)  From there, the four groups converged and sped through all parts of Hollywood and surrounding areas: The Grove at Third and Fairfax, Hollywood and Highland, and Melrose.

As I made my way through the massive pack of riders, the music changed: one person slung a ghetto-blaster over his back, playing the best in electronica at the time (Digitalism!), then another bike pulling a sound system blasting guilty pleasures (Journey? Foreigner…dear God).  I talked to strangers–elated to be on the ride, excited to meet me and anyone else.  There were moments of pure speed.  Heading South on La Brea from Hollywood toward The Grove is a slight downhill.  We picked up speed, gunned passed cars, cheering all along the way.

If you asked me why this first experience got me so hooked on bikes, it would be hard to put it in words.  I think part of it is the innate human desire for the thrill of velocity, the lust for a bit of controlled danger.  Good music blasted from trailers throughout the mass of 5-600 people had lots to do with it.  But I think most of it had to do with the beauty of human congregation in pursuit of noble goals.  Simple goals.  Share the speed, the feeling of exclusivity, the collective ownership of the road for at least one cool night.  A few miles.  A few hours in an alternate, irreverent reality.

Most cars we encountered that night honked in approval, and drivers cheered out their windows.  You can’t help but holler back.  And smile.

And maybe that’s what it was…I couldn’t stop smiling that night as I cruised through those potted-and-pitted Hollywood streets.

* * * * * * * * * *

The twinkling lights and bikes approached and stopped at the same corner I was on, 29th and Menlo.  What a strange place for a group of riders…

…what a strange group of riders.

Some cyclists were in full Viking suits (yes, with horned helmets), some with puppets, others in shiny metallic jumpsuits.  I approached the group and asked someone (who turned out to be Ryan, the ride organizer) about the ride…

Me: Hey, what ride is this?
Ryan: Midnight Ridazz, Robots ride!
Me: Where we going?
Ryan: Dunno, but we’re gonna party, come with!

The Robots ride, it turned out, was an off-shoot of Midnight Ridazz.  Like C.R.A.N.K. MOB, it’s more like “party with a bit of riding” than “riding with a bit of party.”  Fine by me.

We biked through The Row, and not surprisingly, ran into many Greek parties and people.  Most were appreciative.  One was a douchebag.  He took his bike (a beach cruiser, but not that it REALLY matters in the end) and threw it into the street for the express purpose of fucking somebody up.  Unfortunately, somebody did fall as a result of it.  Well, one of the Robots riders didn’t take that so well…Fist + Face.

We ended up on the USC campus at McCarthy Quad and Leavey Library.  The promenade in front of the library, so often frequented by students looking for a smoke or phone break any other day of the week,  filled with people looking for a beer and dance break.  After everyone had their fill of dance and drink, we rolled out to the LA Coliseum, where just hours before, it was populated by tailgate parties for a USC football game: middle-aged men recalling their college days to the dismay of their wives and embarrassment of their four-year-old children.

Once there, we went down to the bowels of the Coliseum’s underground parking structure.  We carved through the parking lot ramps and got to the lowest level in the parking structure, where dancing, drinking, and debauchery continued.

It seems maybe as though we were in Hell…so far beneath the earth, with so much vice.  But to everyone there, it was Heaven.

So I got to thinking about the Boy Least Likely To again because it occurred to me that their second album was supposed to have come out this summer, and I must own my own copy of “A Balloon On A Broken String” an example them at their very best, all sweet glockenspiel-synth pop and adorable heartfelt lyrics. Unfortunately, that bit about the album coming out this summer was apparently all a lie. I can’t find any evidence of it anywhere. However, rumor has it that their soon to be iconic cartoon characters, which adorn all their albums, will take three dimensional form as knit stuffed animals.

 I could not be more pleased about this.  A pointless bit of trivia to some, I can’t help but be fascinated by album art and other forms of packaging/merchandising of bands. And this is so cool; the charming, childish and somewhat creepy creatures drawn for the band by Jof Owen’s brother, Tim. And the reason this is so perfect is because their music has been described by those who ought to know (Rolling Stone) as sounding as if, “all your childhood stuffed animals got together and started a band.” And soon they will be! So check ‘em out. If you like adorable critter country pop, they’re pretty much the only band working that genre right now.

http://www.myspace.com/theboyleastlikelytouk

I was surprised and touched by the number of men scattered amongst the still predominately female crowd at Ground Zero, silenced and awed as they stared up at the stage where the lovely speaker gestured at the screen as cheery, colorful slides sped by. Dressed chic in all black, with black lustrous fur and incomparable thick, black rubber skin. She was a Guerilla Girl, appearing at USC in her full badass regalia of head to toe black and the iconic rubber gorilla mask. As she turned her head to address the audience, we could see flashes of glittering red from behind the cut out eyeholes; either wicked glasses frames, or the flames of her ardor for activism burning in her eyes. Whichever, just seeing one of the founding Guerilla Girls on the stage was one of the coolest things I’ve gotten to do at USC, or, y’know, ever.

The Guerrilla Girls are a band of female activists who work through art and anonymity to protest the under representation of women and/or minorities in the art world, Hollywood and politics. Through posters, billboards and biting wit they’ve been working since 1985 to redress wrongs and be “the conscience of the art world.” The anonymity is key; all members assume the name of dead female artists, and never appear without their masks. When asked how they settled on this particular persona, she answered: “We decided to be anonymous from the beginning… you couldn’t hate what we were doing because you hated us. Then we realized we needed an identity. One of our early members was a terrible speller, and during one of our meetings she was doodling GO-rilla girls the animal as opposed to GUE-rilla girls the freedom fighters… it confounds expectations and pushes people’s buttons.”

She entered the room after the lights were turned off and the bar closed the curtain to business, and broke the ice by handing out bananas on the way to the stage. The presentation then started with a PowerPoint talk covering the history of the Guerilla Girls activism, a sort of lite intro into what they were all about. It covered them from the beginning, when they were a small band of outsiders and renegades in New York, going out late at night to plaster the city with posters and stickers to the present, with their posters hanging in the TATE permanent collection, and shows at contemporary galleries around the world from Shanghai back to New York again.

Not that the recent somewhat ironic embrace from the art world has dulled their acerbic commentary any. At the recent opening of the Eli Broad gallery at LACMA, the Guerilla Girls protested the under-representation of women artists and artists of color at a tax supported museum, whose mission is purportedly to “educate a culturally diverse population.” When the curator of the Broad collection claimed that Cindy Sherman has forty-nine pieces on display, the Guerrilla Girls responded with another letter, pointing out that there were only four female artists out of thirty, and one black artist out of thirty. These numbers don’t coordinate with the number of women artists, and of artists in minority groups just in the Los Angeles area. It runs into the problem of museums, as elucidated in the Guerilla Girls activity book, as “places where rich people put their stuff.”

http://www.guerrillagirls.com/posters/dearestelibroad.shtml

Not that they are limited to the art world; they have pointed out similar failings in the Hollywood system, and especially recently in the problems of government. My favorite is the “estrogen bomb” a poster and billboard campaign to bomb the various houses of government with estrogen pills to chill them out. They approach everything with a sense of humor; “communication is really important to us… if you don’t have a sense of humor we cannot speak to you.”

It was in that swinging sense of humor that she ended the presentation by getting a guy into skirt. There’s a cool story behind it, of course: the New York Times published an article and accompanying photo entitled “Arnold Glimcher and his Art World All Stars;” all of which were white men. The Guerrilla Girls did a responding poster entitle Hormone Imbalance Melanin Deficiency, catching the attention of Village Voice art critic Betsy Hass. Hass called Glimcher to ask him about his collection, and the skit was a re-enactment of the transcript of that telephone conversation. The guy from the audience was called up to play Hass; the Guerrilla Girl took on the role of Glimcher. It was both funny and disturbing, especially Glimcher’s lines—“we only represent artists who fit into our program,” and the suggestion that they continue the conversation “maybe over lunch.”

For the Guerilla Girls, it’s not a matter of men versus women, but of enlightened human rights and equality for all, and for not settling for tokenism. Their verve and jocularity were refreshing and inspiring, especially in the recent political and social climate, which considers the battle for equal rights basically won, and demonizes feminism. And their attraction isn’t an isolated phenomenon. They apparently receive tons of mail, especially in response to one of their earlier posters “Advantages of Being a Woman Artist” from female artists, most of which tend to be musicians, saying that this is the story of their lives.

By the end of the talk, the general excitement was such that the news that the Guerilla Girls weren’t looking for any new members, that in fact they preferred to stay small, and so didn’t solicit members in any way cast a tangible pall of disappointment over much of the room. She advised us to “find your own crazy way to be an activist… Speak out against what you think is wrong. The art world is a very f*cked up place.” She ended with this call for more activism, with undertones of addressing the type who make up the USC community especially–young people with all the advantages of education. The most important thing is to be active; after all “you wouldn’t be paying attention to a woman wandering around in a gorilla mask if it wasn’t attached to a body of work.”