CF poll: What were/are you wearing in 1992, 2002, 2012 and 2022?

Jeffrey, Claudia and Miggy at the Middle East, 1995. Polaroid by Gail O’Hara

This is another poll that didn’t fit into chickfactor 19!

What were you wearing in 1992? Like what was your style? What was your uniform of choice?

Claudia Gonson / The Magnetic Fields (pictured): Hoping that you will dig up some of the many great photos you took of me. In one of them, I am wearing a “New Jersey Is For Lovers” shirt that I still occasionally wear, although it is full of holes now and best suited for night wear. I found it at a Goodwill in Honolulu (!), summer of 1992.

Janice Headley (CF/KEXP): Thrift-store vintage dresses with mens’ blazers and oxford shoes. Black-and-white striped tights with fake Doc Martens and XL band tees as a dress. Big eyeglasses because my parents deemed me too young for contact lenses.

Daniel Handler: Whatever was on the floor of my room.

Ed Mazzucco / Shelflife Records: Worn out jeans, flannels and Doc Martins.

Kristin Thomson (Tsunami, Simple Machines Records): Golf jacket, cutoff cord shorts with tights, baggy t-shirts or Japanese baseball uniform tops

Clare Wadd (Sarah Records): Well, we didn’t have any money so clothes weren’t really a thing for us. Mostly skirts and t-shirts, black tights, flat shoes. I don’t think I could afford DMs then, though I always wanted some. Lots of jumpers in winter.

Stuart Moxham (Young Marble Giants): Same as now, jeans, shirt, brogues. I have a lot of jackets.

Alicia Vanden Heuvel (the Aislers Set, Poundsign, Speakeasy Studios): Baggie t-shirts, doc martins, flannels, hats, and black eyeliner. I was a goth/grunge teenager who just had her life changed by Nirvana and the Breeders.

John Lindaman: I think 1992 was square in the middle of a horrible Hawaiian shirt and long hair phase. Apologies to all.

Beth Arzy: Fred Perry tops, thrift shop brown cords, Mary Jane shoes or flowery 60s dresses. Band tee shirts. Cardigans and jeans.

Peter Momtchiloff: A western shirt, a suede jacket, and horrible black Levi jeans

Theresa Kereakes: 1992 found me wearing a uniform of pleated plaid skirts, black tights, black turtlenecks, string of pearls, and before you think, “preppy beatnik” I always wore Doc Martens. I worked at PBS and I treated it as if it were Catholic school.

Dickon Edwards: I think I was trying to wear stripey blue and white matelot t-shirts, alongside band t-shirts, plus jeans. The whole hooded top look associated with ‘Madchester’ had died away by then, and I think the whole grunge explosion had left everyone in simple band t-shirts and jeans.

Kevin Alvir: I was a child, so like gigantic t-shirts that doubled as a tunic with umbro shorts.

Tracy Wilson (Turntable Report): Vintage dresses, thrift store cardigans, saddle shoes, Bettie Page bangs, and a Sanrio bag—likely Little Twin Stars or Hello Kitty.

Gail CF: Vintage raincoat, black shorts with leggings underneath, fluevogs, flannel shirts, enormous indie Ts, Mr. Friendly backpacks.

Fred Thomas: It was a transitional time, and I’m pretty sure I mostly wore band shirts (Misfits, Jane’s Addiction, Smashing Pumpkins, Black Flag, etc.) and big, huge skater pants.

Pete Paphides: the search for a classic button-up cardigan like the ones worn by people’s parents in the 1950s and 1960s is a lifelong pursuit.

What were you wearing in 2002?

Claudia Gonson / The Magnetic Fields: Height of the 69 Love Songs era. I wore a selection of tight sports jackets in very bright colors, some of which make a word when you zip them up- “BER-LIN”. “BROOK-LYN”. Etc. Also, I was obsessed with British caps.

Daniel Handler: Suits, when I went out.

Ed Mazzucco / Shelflife Records: Corduroys, Gingham shirts and Jack Purcells

Kristin Thomson: Maternity wear, but not the stuff that makes you look like an infant.

Stuart Moxham: As above

Alicia Aislers Set: Those were Aislers Set days and my favorite things to wear were stay pressed Levi’s, button up shirt, a tie or sweater vest, parka. Of course stripes because, Jean Seberg…

John Lindaman: All brown.

Janice Headley: Low rise bootcut jeans, spaghetti-strap tops, platform shoes, and baby barrettes in pixie-cut hair, because I was young.

Beth Arzy: Less garish dresses, Fred Perry tops, unmemorable skirts. Band tee shirts. Cardigans and jeans.

Theresa Kereakes: In 2002, I was on the road with a 200-person crew. T-shirts and jeans.

Kevin Alvir: Some sort of striped t-shirt with a jean and some purposely fun sneakers. The face of fashion: the look of an overgrown child.

Gail CF: I was working at a teen magazine in NYC. Casual, comfortable. Vintage dresses, motorcycle boots, gingham, sneakers.

Tracy Wilson: It’s a mod mod world.

Fred Thomas: Almost entirely thrift store attire, and I had yet to realize that synthetic fabrics weren’t really the way to go for me. Lots of polyester pants, ill-fitting cowboy shirts, tight polo shirts in springy colors, corduroy jackets, and I definitely had one of those garage rock caps that people wore in 2002.

Jim Ruiz: In 1984 I was a real thrift shop Mod, by the mid-’90s, these clothes had worn out and I was reduced to wearing pajamas as stage clothes or trying to dress like a college professor. Now, almost 40 years later, thanks to narrow lapels and skinny jeans and the internet! I am able to dress the way I’ve always wanted to, and better! Plus, I still have a full head of hair, and my former bandmate Allison has been cutting it for me. I feel really lucky, it’s crazy. Thanks for asking!

Dickon Edwards: Suits and ties!

Pete Paphides: May I refer you to my previous answer?

What were you wearing in 2012?

Claudia Gonson / The Magnetic Fields: I had a daughter in the summer of 2010 and don’t particularly remember the next 3 years. I did go on tour for over 2 months of 2012, insanely. I must have worn clothes.

Ed Mazzucco / Shelflife Records: Dark jeans, more gingham shirts and Onitsuka Tigers

Kristin Thomson: Skinny jeans, vintage tops or band t-shirt, zip up hoodie

Stuart Moxham: As above

Alicia: Same thing as 2002. Ha ha ha

Beth Arzy: Band tee shirts. Cardigans and jeans. Same as the above… Same as it ever was.

Fred Thomas: No more synthetic materials! A combination of basics (many pilfered from my job at American Apparel) and a few nicer, more interesting pieces either found in thrift shops or from high end men’s fashion retailers.

Theresa Kereakes: I moved to Tennessee in 2008, and it’s fairly warm for the most part. I like a sun dress and a straw hat.

John Lindaman: All grey.

Clare Wadd: Jeans a lot

Kevin Alvir: Hair with intention. A striking sweater or cardigan and fitted jeans.

Gail CF: Living in Portland so durable rainwear; red clogs; A-line skirts; cardigans; I basically dress like Paddington Bear in general. Hair: long with bangs.

Dickon Edwards: Suits and ties!

Daniel Handler: Cardigans.

Tracy Wilson: Space Age flight attendant

What are you wearing in 2022?

Ed Mazzucco / Shelflife Records: Gray jeans, hoodies, Doc Martins or Onitsuka Tigers

Kristin Thomson: Today, I am wearing my “Ripley” outfit. Army green long sleeved jumpsuit/flightsuit, sneaks.

Stuart Moxham: As above but with trouser braces and hats.

Alicia: Well, now I like to throw in some comfortable jeans, a soft sweater, old man slippers, maybe even sandals sometimes! I’m getting old. It’s time to embrace the inner Mr Rogers.

Beth Arzy: Have fallen in love with loafers and have many pairs of Adidas. Bit more conservative on the clothes side with more acceptable things in the wardrobe for work. More Fred Perrys. Band tee shirts. Cardigans and jeans.

Claudia Gonson / The Magnetic Fields: I am currently recycling some very old shirts that I found in my folks’ house a year ago. In college, like many, I wore loose baggy T-shirts. I found some pretty great ones from the late 80’s and early 90’s, souvenirs from a cross country trip in the early 90’s (Stonehenge in Maryhill Washington, Calamity Jane museum in Deadwood, S Dakota), Also, multiple shirts with artwork by Jad Fair. So, under my winter sweaters, I am enjoying wearing my old weirdo Tshirt collection right now.

John Lindaman: As many colors as I can bring myself to wear (still mostly grey).

Clare Wadd: Jean even more. T-shirts, jumpers, currently vests. It’s still cold. Dresses when I go out, but still home a lot.

Peter Momtchiloff: A cardigan and pinstripe trousers

Fred Thomas: I now have way too many clothes, as some of the Jane’s Addiction shirts from 1992 and tight polo shirts from 2002 are still in rotation. I try to stick to more basic, streamlined presentation these days, but get inspiration from films, record covers, and other images that most people wouldn’t register just by quickly scanning my outfit.

Theresa Kereakes: Pajamas! “Work from home” means I ask myself, “Am I working in my PJs or sleeping in my clothes?” It’s all yoga pants and hoodies over band t-shirts purchased during the dark days of lockdowns as a way to put money into the non-touring economy.

Kevin Alvir: I wear what I wore in 1992…which is like a gigantic tunic with shorts.

Gail CF: comfy dresses, tunics, leggings, athleisure. Carhartt! I seem to be addicted to thermals and flannel.

Janice Headley: Big, thick sweaters and high-rise jeans ’cause it’s cold AF here in MI.

Dickon Edwards: Suits and ties!

Daniel Handler: Ill-fitting outerwear.

Tracy Wilson: Soft pants and all the colors.

June 11, 2022June 11, 2022

CF poll: How did you learn about music 10, 20, 30 years ago (if you were alive) and how do you learn about it now?

Alicia Aislers Set / Poundsign on the back of CF15 (2002)

Alicia Vanden Heuvel (Aislers Set, Poundsign, Speakeasy Studios): 10 years ago I was mostly touring and going to live shows. frequenting my local record shops, especially Aquarius records here in the Mission, which sadly closed in 2016. I saw Elliott Smith perform there solo once. 20 years ago, it would be through college radio, zines, live shows, indie websites, touring…. 30 years ago, I could barely get a radio station out in the desert where I grew up (Desert Hot Springs, California). There was no internet, we would hitch rides to “civilization” where we would go to Tower records, and spend all our savings buying like one or two records.. I’d sit at the radio, trying to get KROQ, taping my favorite songs, then sit late into the night waiting for MTV’s 120 Minutes or Alternative Nation to come on, so I could “maybe” see the Cure or something good.

Daniel Handler: I remember going to record stores and humming songs I’d heard on the radio to confused clerks. Now I know what the song is called but not what it sounds like.

Clare Wadd (Sarah Records): With difficulty back then I think. People might play you things, but you couldn’t necessarily buy them. John Peel used to play some older records now and then. Now you hear a lot of older music on 6 Music alongside the new, and of course you can track down anything via reissues or online.

Janice Headley (CF, KEXP): Chickfactor, the “thank you” sections in CD liner notes, band t-shirts other bands would wear in their publicity photos, record label rosters back when labels had a defined aesthetic, TV and film soundtracks. Nowadays, I discover bands through my day job (at a radio station), social media, algorithms, labels that still have a defined aesthetic.

Ed Mazzucco / Shelflife Records: Seeking out specific label’s catalogs (Factory, Creation, Sarah, Subway…) and now I learn about it on Instagram or friends sharing info on bands I may like.

Kristin Thomson (Tsunami, Simple Machines Records): I now learn about it through (1) college radio, (2) friends, and (3) Spotify.

Stuart Moxham (Young Marble Giants): I grew up in a musical world; my father was a singer (he’s too old now, at 92,) and has an encyclopaedic knowledge of classical and stage music. We had radio, records, I also had an elder brother who had a stereo and headphones in the early ’70s because, as a sailor, he’d been to Japan. Girlfriends and their older sisters’ record collections majored too. In terms of making music, I sang as a child in church and later in musicals which my dad starred in. I’m pretty much self-taught at playing and composing, obviously influenced by friends though and the records I’ve loved.

Beth Arzy (Jetstream Pony): My cousins were like my sisters and used to give me their old records so I had The Monkees, Olivia Newton John, John Denver when I was 3-4. My mom worked at an easy listening radio station in Northern California when I was 5-6 and I used to get all the records that weren’t easy listening so my life started with vinyl. Now it’s bands we play with who I love, word of mouth, and (this won’t make me popular) algorithms suggesting things I may like. They’re often right!

Claudia Gonson / The Magnetic Fields: When I met Stephin and other friends in the ’80s and ’90s, we discovered music through Boston’s amazing web of college radio stations. Also, by going to record stores and reading indie zines and the larger music magazines. I also learned about music through a combo of friends (like you!) telling me what they were listening to and going to see shows. Today, I still sometimes learn about music through the radio, while driving in my car or through online radio stations. Stephin’s monthly online DJ session on Lot Radio is fun, as is “How does it Feel to be Loved?” Obviously, the internet- Online music magazines, online performances on Youtube, etc. I also learn about music by reading the NY Times, New Yorker and listening to NPR. Sigh. I am definitely a 50-something East Coast liberal.

Theresa Kereakes: Thirty years ago, we still had reliable radio without too much consolidation. But I mostly learned about music from indie record stores. Going back to when I was at UCLA in the ’70s (gasp, 46 years ago), I learned about music from the late Gary Stewart, who worked at the Rhino Records store on Westwood Blvd. I bought Elvis Costello and Jam records from him the moment they arrived at the store. I also learned about music that preceded my consciousness from the Capitol Records Swap Meet. Twenty years ago, I was producing a radio show for Sirius, and labels, both major and indie, sent me new music. Ten years ago til the present, I rely on friends, favorite record stores, and interviews with my favorite musicians if they’re asked what they’re listening to. I discovered Roxy Music because David Bowie mentioned to either Dinah Shore or Dick Cavett that he liked them (this was during the Eno era). I learned when I was working at the very mainstream VH1 that mainstream artists don’t always have mainstream tastes. Elton John loved Blur back then, and now, he loves Aaron Lee Tasjan.

John Lindaman (True Love Always): Obviously eternally from surrounding yourself with friends with better taste than you. 30ish years ago I worked at B Dalton Booksellers, and I would read every guitar/music magazine that came in. I also took care of my guitar teacher Tony Geballe’s record collection when he went to Turkey for six months, and it was loaded to the gills with Fripp/ECM/Frith/Eno type stuff, the closest thing to an encyclopedic music streaming service that existed then. An amazing opportunity for a young person—sorry I probably scratched up your records, Tony! 20 and 10 years ago it was from going to good record stores, and the glory days of Emusic. I got downloads of tons of great out of print Brazilian albums from a site run by a guy named Zecalouro, which has since gone dark. Now BANDCAMP.

Gail CF: 1992: Working at Washington City Paper and then Spin. Promos. Combing record stores. Pam & Co. Mike Schulman at Vinyl Ink Records recommending things; Chris, Josh and Jeff at Kim’s (later Other Music) suggesting things. Reading Option, NME and Melody Maker and zines. 2002: Putting out CF15 after 10 years of CF, I learned about music via the internet, Other Music and friends, bands giving me music. 2012: Doing an issue (CF17) forced me to dig deep into what had come out in our 20^th anniversary year; PR folks helped. The internet, maybe Soundcloud. WFMU online. Friends, DJs, bands giving me stuff. 2022: Bandcamp for sure; labels, bands/PR folks sending me stuff; WFMU; blogs and friends doing music stuff!

Fred Thomas: 10 years ago: That was probably the tail end of the blog era for me, where I’d read about or blindly download obscure music from small blogs or bigger music criticism/culture sites. ¶ 20 years ago: Working full time at the record store and taking chances buying whatever came through that sounded interesting or a friend I trusted was excited about. Seeing shows in the same way. There was already an ocean of new music then, but not as much information, so I didn’t always know much about the music I liked. Some of it was blank CDRs or tapes with no track-listings. ¶ 30 years ago: that would have been when I was just getting out of relying on MTV and the radio as the primary sources of new music and started listening to stuff played by friends’ older siblings or the older punk kids who weren’t too annoyed by me at the record shops. Once in 1992 an older record store clerk asked me if I’d help them clean up the house they were moving out of and they paid me with about 70 dubbed tapes of music I’d never heard of before. That was a pretty formative moment. It’s interesting because presently I draw on parts of all the means I’ve used to learn about new music for the past 30 years, just more fragmentally and less from one main source.

Tracy Wilson (Turntable Report): Thirty years ago I learned about music through talking to customers at the record store I was working at, by reading every music fanzine I could get my hands on, from the sales people at all the different labels and distros I purchased music from, shopping at other record stores, and by going to shows at least three days a week. The only thing that has changed now I that I go to less shows during the pandemic and I have the internet.

Pete Paphides: 40 years ago: Smash Hits, Record Mirror, the information on record sleeves and labels, hanging out in record stores ¶ 30 years ago: Melody Maker, NME, the information on record sleeves and labels, hanging out in record stores ¶ 20 years ago: hanging out in record stores with Bob Stanley ¶ 10 years ago, hanging out in record stores both with and without Bob Stanley; going in looking for one record, coming out with something completely different because of what was playing, or because something caught my eye.

Kevin Alvir (Hairs): in 2012: Pitchfork (puke) and assorted music blogs. in 2002: reading Spin Magazine or whatever played on MTV. But I was real into Athens, GA… so whatever those associated labels put out. in 1992: I sat in the passenger seat of my brother’s car. He played Hüsker Dü, Replacements, Dramarama, etc. and those albums mean so much to me.

Dickon Edwards: My memory is very bad about this. But I think in 2012, I had drifted away from listening to new music, but was still going to gigs at the Boogaloo and other smallish London venues. 2002: Word of mouth, reading the NME, still listening to John Peel. 1992: All the music papers, Peel, BBC Radio 1, music TV like The Chart Show.

June 11, 2022June 11, 2022

CF poll: Who should play at CF30 later this year?

chickfactor zine was started in the summer of 1992 by Pam Berry and Gail (me) O’Hara and our first issue came out at a Lois + Heavenly show at Maxwell’s in Sept. 1992. This year we will be celebrating our anniversary in a few cities and we asked folks who/where they wanted to play. Hope to see you all there!
NYC will be Oct 6 & 8
London will be Oct 28-30
PDX? DC? perhaps

Who should play at CF30 this fall? Where should it be?
Janice Headley: Lilys, a reunited Velocity Girl, Horsegirl. It should be in NYC, where it all began.
Beth Arzy: The Pastels, Comet Gain, Lightships, The Aislers Set and Pam Berry! London, Glasgow, Paris?
John Lindaman: The Aluminum Group, for their new record, in NYC!
Stuart Moxham: Me! Paris, France.
Ed Mazzucco / Shelflife Records: Pipas reunion, Portland, OR
Kristin Thomson: Lilys, Unrest, Versus, Scrawl, Ida, Rebecca Gates/Spinanes, Clint Conley, Ohmme; Longshot, but I’d love to see boygenius
Claudia Gonson / The Magnetic Fields: I nominate one of Amelia and Rob’s many bands. They are certainly some of the most prolific musicians I have seen during quarantine. Maybe it can take place in a castle in the UK. Or Spain. Or New Zealand. Obviously, I am craving travel.
Theresa Kereakes: Tristen! I selfishly want it to be somewhere that “strongly encourages masking” even if the state doesn’t care.
Kevin Alvir: NY Please!! Cannanes. The Bats. Ashtray Boy. Pipas. Aislers Set. and I’m sure whoever else you get rules.
Peter Momtchiloff: Vanishing Twin
Jim Ruiz: Shoestrings. They just released their sequel album on Shelflife after 24 years!!!
Daniel Handler: The Aluminum Group, The Bats, Birdie and the Spinanes, walking distance from my house.
Lois Maffeo: Versus! Their 1993 Let’s Electrify LP that Teenbeat re-released this year provides irrefutable evidence that Versus has been a titanic rock and roll band since the very beginning. Every song they write is wondrous and every show is awe-inspiring!
Pete Paphides: Butcher Boy. Robert Forster. Whoa Melodic. The Leaf Library. Trashcan Sinatras. Altered Images.

April 23, 2022April 24, 2022

poll: your favorite record stores

What are your favorite brick-and-mortar record shops, online shops, zine stores, etc.?

Gail CF: My Vinyl Underground and Mississippi in Portland. Dusty Groove. Carolina Soul in Durham. Amoeba.

Daniel Handler (aka Lemony Snicket): Amoeba on Haight, and the unclassifiable section three shelves back at Green Apple Books on Clement.

Beth Arzy (Jetstream Pony): Rough Trade East (London), Monorail Records (Glasgow), Sounds of the Universe (London), Flashback (London), OOR (Zurich), Grammar School Records (Rye), Rollin’ Records (London).

Fred Thomas: I love so many independent shops around the world. I’ve worked at Encore Records in Ann Arbor on and off since 1998 and as recently as yesterday (!!!), Culture Clash in Toledo is such a cool store, Love Garden in Lawrence Kansas, Mississippi and Jackpot in Portland. Hello Records and People’s Records in Detroit. Today Clothing in Ann Arbor is a serious inspiration. MOOG is a synth and music shop in Montreal I used to go into every day and never buy anything at the entire two years I lived there.

Ed Mazzucco / Shelflife Records: My Vinyl Underground. Amoeba SF back in the 2000s.

Kendall Meade / Mascott: Main Street Beat, Nyack, NY.

Theresa Kereakes: In Nashville, where I now live: The Groove (new & used records, gazillions of indie 45s, zines. and stuff); Grimey’s (new & used records, books, zines)—they both host live performances and events. Online, I buy from Rough Trade, because I can’t go to any of their stores in person. Oddly, I’ve never shopped in a zine or comic store, even though I lived basically next door to on in Chelsea (and I would always see my neighbor, Johnny Ramone in there). I buy my zines from record stores (I supposed I like one-stop shopping), and online and from book fairs/art shows where the creator is selling in person.

Stuart Moxham: Bandcamp by miles, but also LSD Records shop in Wilton, Wiltshire and ebay

Alicia Speakeasy Studios: Amoeba is still the best record store in San Francisco. I love it. And now, Bandcamp is my second favorite record store.

Claudia Gonson / The Magnetic Fields: I’m very happy that St Marks Comics moved to Brooklyn. It is near enough to me that I can pop over there fairly regularly. I am not a good music shopper anymore and have not found it easy to navigate through the new record stores I have seen. I do love poking around Brooklyn’s wonderful independent bookstores.

Janice Headley / CF & KEXP: Bandcamp, Patreon, Quimby’s

Tracy Wilson / Turntable Report: I miss Other Music and Steady Sounds so much. Current favorite shops include Uncle Tony’s Donut Shoppe, Acme in WI, and Double Decker in PA.

Pete Paphides: The Record Detective Agency in Palmers Green; Alan’s Record & CD Shop in East Finchley; the Little Record Shop in Hornsey; Monorail in Glasgow; Resident in Brighton; Rough Trade in West London; Easy Listening in Acocks Green, 40 years ago.

What is your favorite record store?

Nancy Novotny: End of an Ear, Austin

Sukhdev Sandhu (CF):
Sound Service, Villingen
For its tragic chanteuses, Bavarian folk music, and the nearby Vietnamese restaurant
Flur, Lisbon
For its natural light, gorgeously-sleeved house 12″s, and mellow staff
An Ideal For Living, Stockholm
For its lesser-known Robert Wyatt singles, early el LPs, Aztec Camera picture discs
Nat, Tokyo
For its 70s Swedish punk 7-inch singles
World of Echo, London
For its name, lovely owners Natalie and Stephen, Tara Clerkin Trio mugs
Monorail, Glasgow
For its giving, generosity, endless geographies
Pianola, Tokyo
For its chamber music, oddsome pop, delicate ardour
Discreet, Gothenburg
For its making, channelling and harvesting of mysterious local circles
Fnac, Cannes
Would that most independent stores were as good as this chain one. It made my Charles Trenet cup overfloweth.
Manic Hedgehog, Oxford
Where I blew my student grant in one go

Alexander Bailey: Winzer Records, Palm Springs

Danny Ingram: Restless Records (Soho, London)

Adam Stafford: Jigsaw/My Vinyl Underground of course. Arroyo Records in LA is good! I picked up a couple of Aislers Set 7-inches there recently.

Brian Musikoff: Sonic Boom Records!

Kevin Coral: Last Exit Records in Kent, Ohio (though I work there so biased) and Current Year Records in Parma, Ohio.

Ken Katkin: Shake It Records in Cincinnati. Historically: Pier Platters R.I.P. and Home of the Hits.

Carmen Mullins: Crookedbeat (D.C.)!

Tim Dagger: Currently, Twist and Shout in Denver.

Matthew Edwards: Swordfish in Birmingham UK. Open Hand Music in Berkeley, CA.

Joey Sweeney: Repo Records in Philly.

Ryan Olson: Amoeba obviously here in L.A. but I like Record Surplus on my side of town.

Peter Momtchiloff: Truck Music Store.

Jen Sbragia (CF, The Softies, All Girl Summer Fun Band): My Vinyl Underground for sure, also there’s a great one in my hometown called the Next Record Store (Santa Rosa, CA, formerly the Last Record Store R.I.P.)

Michael HHBTM Records: My Vinyl Underground / Microgroove / Grimey’s / Wall of Sound / Green Noise / Raven / Vintage Vinyl

Yvette Ray: Rotate This in Toronto

Bx Blackhawk: Bandcamp

Reuben Radding (photographer): Academy!

David Martin: Government Center in Pittsburgh, Landlocked in Bloomington IN, Love Garden in Lawrence KS, Lunchbox in Charlotte NC, Tone Deaf in Chicago, End of an Ear in Austin

Hannah, @BowlieBlue: Relevant Record Café, Cambridge UK. no inflated prices (and even a student discount!), great vibes, cafe above the shop, amazing variety and seriously lovely staff

Tracy Dreamy Records: Before London, I used to go to a place called Black Hole in Brea, CA. I think it’s still there. There were some equally good places in San Diego and Lou’s Records was always worth the drive. Obv Amoeba in SF. In London: Sister Ray… but also the record & tape exchange was ace.

Jason Summershine Records: Going Underground in Bakersfield always stellar. Plus, also one here in L.A. too. Points also to Gimme Gimme, Freakbeat & Record Safari in L.A.

Patrick Carmosino: Discounting ones I’ve worked at, I’d have to say currently – Rebel Rouser in Bklyn, organization and non-Discogs-price-gouging a big +. In a perfect world, it should’ve been the one Chris V. was running on West 8th for a short time but alas…

Keith @anxietyblock: Feeding Tube Records in Northampton, MA. Lots of hard to find gems, specializing in Ptolemaic Terrascope type bands. Owner started the store because his kids weren’t interested in inheriting his very impressive collection.

Leela Corman: Armageddon and Analog Underground in Providence, RI; In Your Ear in Warren RI – the one by the water.

Adam Grimord-Isham: I’ll second Flat Black and Circular and Mississippi, will add Reckless in Chicago and Moon Rocks in Eugene. Specks in PDX is a little but great store!

Mark Woodpigeon: Atom Heart in Montreal always makes me happy.

Robert Hindle-Yang: Records The Good Kind (Vernon, CT)

Ben Parrish: In Portland: Mississippi Records, My Vinyl Underground. Olympia: Rainy Day Records. Denver: Twist & Shout

Don Clark: Celebrated Summer here in Baltimore.

The Catenary Wires: Wow and Flutter in Hastings, UK.

Linda Smith: Normal Books in Baltimore.

Jon Freer Sounds: Gothenburg, Sweden: Discreet Music. Manchester, UK: Vinyl Exchange, Piccadilly Recs

Chelsey Johnson: Black Hills Vinyl in Rapid City, SD! Also love Steady Sounds in Richmond.

Bowery Ballroom: Record Grouch / CrookedBeat DC / Joint Custody DC

Lys Guillorn: In CT: Willimantic Records, Gerosa Records

Rob Ferguson: Jack’s (Red Bank, NJ). Princeton Record Exchange

Stephen Pierce: Electric Eye in Florence, MA.

Leo Lopez: Oakland Ca.: Econo Jam and 1-2-3-4 Go! are really special. Stranded is good too.

Chris Jude: Harvest Records in Asheville, NC

Warsaw Cubicle: Lunchbox Records here in Charlotte!

Cheesepolice (Twitter name): In Your Ear Boston

Chelsie Dever: Friends of Sound

Can’t Hardly Wait: Dr. Disc, Windsor, ON

Domigon (Twitter name): Rare Groove in Osaka

Jesse Kevon: End of an Ear

Elevator Bath: End of an Ear

Bodega Pop: Record Grouch here in Brooklyn; Mississippi Records in Portland, Oregon

Stupefaction Music: Currently: Rocket No. 9 in Kingston, NY

Libby Cudmore: Reimagine Records; Music & More. Both in New Hartford, NY. Both run by the coolest, sweetest, most thoughtful fans in the world.

Ryan Daly: Pitchfork Records in Concord, NH, and Mile Long Records in Wheaton, Illinois.

Ami_59x (Twitter name): Zia Records and Stinkweeds in Phoenix

Astral Swans: Recordland Calgary

Laura Fenwick: No contest, Grimey’s.

Cheshire Adams: Nashville: Grimey’s. Chicagoland: Vintage Vinyl Evanston, Reckless, Laurie’s Planet of Sound.

Ben Tye: These two keep on extending my retirement age: Honest Jons LDN and World of Echo Shop.

Julie Underwood: Love Garden Sound in Lawrence, KS

Slow Season: Forever Young in Prairie, TX, and Permanent Records in L.A.

Black Mesa Records: Guestroom Records in Norman or OKC

Julie Butterfield: Sonic Boom / Seattle and Gre Coffeehouse and Vinyl / Palm Springs

Danny Ethridge: Waterloo in Austin; Grimey’s in Nashville

Albert Rolls: Music Town

June 25, 2019October 14, 2019

cf poll: how has your musical discovery process changed since the golden age of chickfactor?

we’re publishing a few of our polls that were left out of CF18.

photo by gail o’hara, new york city 2000.

daniel handler (lemony snicket):if I didn’t live near amoeba records and wander the aisles once a month, I would have absolutely no idea what is going on.
stephin the magnetic fields:without convenient access to record stores, it has become practically impossible to find anything I like from this century. on the other hand it has become much easier to find french baroque harpsichord music.
sukhdev cf: I don’t listen to much american music any more. sweden, france, japan are more important to me. (perhaps that’s chickfactor’s influence.)
shawn belschwender:without chickfactor, I’m like a blind man groping an elephant. I don’t know what anything is. so I rush right back to the safety of NWBHM bands.
clarissa cf: in the early days of chickfactor, my musical discovery sources were equal parts kim’s underground, wfmu, going to shows by artists I liked and getting there in time for the opening acts, and people on whom I had crushes sending me mix tapes. these days, my main source of musical discovery is looking at joel whitburn’s top r&b singles 1942–1996 and then finding artists I’ve never heard from it on spotify. I’d also say going to starbucks, but for the past eight months the only song they’ve played is rostam’s “bike dream” on continuous repeat. also, the golden age of chickfactor, as well as everything else, is right now.
mac merge/superchunk:weirdly not much—though I throw away fewer tapes now that everyone’s demo is a soundcloud page. bandcamp is a great way to discover stuff which didn’t exist then, but there were more record store employees to recommend stuff back then.
gaylord cf/wfmu: it really hasn’t, though nowadays I can’t bend down to look at records without throwing my back out.
ashley cf: I’ve died a little on the inside. I just listen to NPR and podcasts now. I hear it’s much easier to discover new music now but it just seems overwhelming.
michael white: like everyone else, it’s mostly online now—which, of course, isn’t as romantic as, say, seeing something interesting looking in other music and taking a chance on it, but it also means I don’t waste $35 on some japanese import I subsequently discover is terrible.
evelyn cotton candy: I guess I don’t read zines as much, so new music is more word of mouth.
kevin the hairs: I feel a bit more out of touch. I see what friends are listening to or what reviews I come across or what bands my friends are listening to or recommend.
lisa levy: I still mainly hear about bands through friends, though pandora and spotify also occasionally come through with something interesting.
joe the pines/foxgloves: I’ve gone from listening to radio 1 to listening to radio 2 to listening to bbc 6music. the same disc jockeys eventually turn up on all three, and steve lamacq is still playing mega city four and kingmaker.
jeff drawing room records: hmm… well… the internet has sped up my discovery to ultra-fast light-speed. I tend to self-research more instead of seeking out the good tastes of friends and acquaintances. as I’m older too, I’m more open to lots of different sounds than when I was younger and stauncher in terms of music I enjoyed.
tom square cotton candy:being currently 28, my musical discovery process pretty much began around chickfactor’s golden age.

January 30, 2013April 19, 2017

cf etiquette special: requests

under what circumstances are requests acceptable?

legendary jim ruiz: requests are always acceptable because if you say “what do you guys want to hear?” you will get 7 different answers and you can just play what you want. it is kind of meaningless, because if you wait long enough, eventually someone will request something you want or remember how to play.

carrie sleater-kinney: I suppose they are always acceptable, whether or not they will get granted is another issue. we seem to get a lot of birthday requests, as if being born on that day gives one the inherent right to have a song played especially for them. I always feel like we are playing on a cruise ship or in a hotel lounge when we cater to requests. every time I say “this next number goes out to…..” I see my future flash before my eyes.

john true love always: requests are always acceptable in the realm of “popular music.” aren’t you lucky if people even know the name of one of your crappy songs?

sam quasi: half the time the requests are already on the set list anyway, so go ahead & scream it out. then there’s the person who screams out the most obscure song in the catalog, to show off the arcanity of their knowledge. that’s fine too.

rob tender trap: it’s not very nice, because it’s nearly always for a song you’re going to play anyway, or for a song that you really didn’t want in the setlist.

stuart moxham: not something I’ve ever had to deal with, thankfully, as I can’t remember much beyond the current set. it would be nice to know that anyone actually knew your stuff. ymg always had exactly the same set because the drum machine was on a tape. even so someone had to remind us what was next once….

john phosphene: if the request is for a much loved song, then fine. if the request is “get off: you’re crap!”, that might be different…

james +/- versus: requests are always acceptable if they are requests for your music. but when people request covers, geez louise that curdles my milk.

alan low: we usually welcome requests, but it’s nice to get through maybe a half dozen songs before people ask.

jennifer o’connor: acceptable. I don’t think that means the musician will play the song necessarily but it’s cool that someone likes it enough to ask for it to be played.

daniel handler: people who shout requests at me should understand that I’m not actually a member of the magnetic fields and so I have no decision-making power, although sometimes I also would like to hear “100,000 fireflies.”

claudia the magnetic fields: in our group there is no circumstance in which it’s acceptable.

jeff aden: they are acceptable. the band can just say “no” if they don’t wanna play something. it’s a little annoying, but you’re not gonna be able to keep lameness out of a rock venue crowded with drunk people.

clarissa cf: if it’s a song that the artist might reasonably be expected to know and be willing to play, absolutely — those can work out really well. joke requests suck, as do repeatedly bellowed demands when you know full well we heard you the first time.

ld flare: if you’re a really old has-been on a “greatest hits” package tour, perhaps, and some devout fan pleads for an obscure b-side from your italian-only ep or something… otherwise, I think not.

mike yesenosky: if the request is one of your songs or if you’re a cover band, I see no problem with it. if someone asks for another band’s music and you’re an original band, not only is the audience member rude, but you should probably look in the mirror and figure out how to make your own material more interesting.

robert tono-bungay: where people have spontaneously yelled out for songs my band has written, I’ve been very, very pleased by that. I do it myself from time to time so to me it’s ok. it’s also acceptable if you are yo la tengo, and it’s new-wave karaoke night.

david huon/driving past: requests are fine, but not requests for bullshit we hate.

ben town and country: they are always acceptable—whether the band is going to be willing to oblige the request is the real question.

January 29, 2013April 19, 2017

cf etiquette poll: the guest list

in what circumstances do you feel it’s okay to ask to be on a friend’s band’s guest list?

claudia the magnetic fields: dating them helps. second best is knowing that they don’t have too many people on the list already. after that, you should be very polite in asking and prepared to pay.

liz clayton: I have small means, and thus, little shame.

james +/- versus: 1. you’re poor and a good friend. 2. you don’t ask every time. 3. you helped them out in some way. 4. you’re poor.

matt shinkansen: guest-lists are un-socialist. everyone should pay.

mike yesenosky: I think you should wait until it’s offered. are you really supporting the band if you won’t pay to see them? I guess the only time it’s ok to ask is if you can’t afford to go and you know they will be allowed a large list. you know, you could offer to help if you really want to not pay. bands could always use someone to load equipment or sell merch.

carrie sleater-kinney: I ask to be on if I have repeatedly put them our guest list or if the show is sold out. I don’t ask if it’s a benefit or if my friends are on tour.

daniel handler: if I’m broke and they’re really my friends.

jennifer o’connor: I always try to pay if possible, because I think it’s important to support working musicians you like in a monetary way so they can continue to do what they do…especially if they are your friends.

david huon/driving past: it’s good anytime, because they want you there but they don’t want you to pay. I’d put the world on my guest list, if I could. if only I could.

robert tono-bungay: under the circumstance that I desperately must get in, I’m feeling brazen enough to ask, and that I have an aching need to be able to lord this singular gift of favor over everyone else at the door who’s patiently waiting on line to pay. or, if it’s any show at the bowery ballroom.

lisa cf: if you see that person’s band quite a bit and usually pay, then it’s fine to ask for a freebie. or if you’ve done them a favor recently.

isaac cf: it’s always ok, I didn’t spend the last 15 years languishing in indie squalor and subsisting on instant ramen so I can pay to see quasi. that’s right janet, I’m talking to you!

andrew eggs / talk it: I try to stay off guest lists unless I’m working or I don’t want to see the band in the first place. I usually ask my friends to take me off their lists. unless they get big, at which point all bets are off. watch your deli tray, too! me hungry!

clarissa cf: I have a job; I can pay my way. if they offer, I’ll say yes.but it is not nice to ask for a present.

jeff aden: you know, I used to be really insecure about asking to be on the guestlist. then I realized that I never get mad at people who ask to be on our list, so I’ve sort of gotten over it. if they don’t have room, they’ll say no. but it’s not like they’ll be pissed at you for asking.

dickon fosca: if it’s a small gig, the band have day jobs and the door price is cheaper than buying a couple of drinks, I think it’s fair enough to pay one’s way in. if the show is a big venue and the band are drinking nectar from the navels of brewer street rent boys between songs, I only go if I can get in free. basic robin hood tactics, really. if the show is sold out and the only way of getting in is by being on the list, then that’s fair enough too.

terry dot dash: I usually just say “look, you know I’m there for you… you know I’m out there flyin’ the flag for you guys 24-7 so how ’bout it? what’s it’s gonna take to get my name on that list? and while we’re on the subject, what dy’a think about a plus-one scenario? c’mon, don’t put me on there all by my lonesome — I got needs.”

stuart moxham: any. also always insist on free copies of new records if they have the need to tell you of them!

don smith: if it’s a local band, it’s not ok to ask to get put on the band’s guest list in most cases. the only cases where this is not true are if financial disasters preclude this or if the band owes you money. otherwise it’s up to the band to invite you on their list — it’s their list and their decision. if you have an interview with a touring band then you can ask them for plus ones. if you have an interview with a local band then you should bring them a gift rather than asking to get into their show. if you are assigned the interview by your editor then you can ask the band for a guest list, even if they are local, by explaining that it’s your editor’s idea. under no circumstances are you ever allowed to ask to get on the band’s guest list for the purpose of freelance photography. if the band is from out of town and their label has more than one paid employee you are allowed to ask the band’s label for anything, including posters and advance cassettes. if you are planning to bootleg the show, meticulously write down the songs played, take pictures and think about the show for days afterward you are permitted to ask to get on the guest list and ask the singer for a kiss. the band in turn, is allowed to press charges.

ld flare: I don’t usually—as a writer I’d rather just call the club or the pr people.

tracy dreamy: most of the time I am organizing the gig… and when I’m not, I don’t feel too bad about asking. if I feel it’s not right then I buy the ticket or I don’t go

Photograph: gail o

January 27, 2013September 27, 2016

cf etiquette special: chatting during the opening act

if you go to see a band in a small space, and the opening act is boring, is it okay to chat?

jennifer o’connor: no.

don smith: I still remember a drunken kelly young from death worm radio yelling at the great plains when they played with beat happening at d.c. space to shut the hell up when the aging replacements-era indie rockers tried to make a go of it about 18 months after their last point of relevancy. the crowd was talking amongst themselves and the band clearly was making no impact on them, but at that heckling comment they seemed really hurt and confused, barely able to muster “what is this, new york?” they quickly played “why do punk rock guys go out with new wave girls” and left the stage. in the end I felt really sad for them, even if they had totally missed the boat musically and bored us to tears. up until that point I had never considered that the band wasn’t onstage in a cone of silence, unaffected by the audience’s reaction. but still, they were doing material appropriate for 1986 and here it was 1988. ron house redeemed himself for the four-eyed posse crowd with thomas jefferson slave apartments.

matt shinkansen: it’s fine to chat if you’re bored but, as a courtesy, you should include the band in the conversation. ask them what chord they’re playing and stuff like that. suggest more interesting open-string variations etc.

david huon/driving past: it’s ok to chat whether they’re boring or brilliant. chat is grouse!

lisa cf: not right in front, where people are trying to listen. this is why more clubs should have an in-and-out policy.

tracy dreamy: no, it’s about respect. go next door, or if you must say a few words, keep it brief and the volume down.

ld flare: only if you don’t know them. if you do know them, it’s absolutely unforgiveable.

mac of oxford: no, shut the fuck up, you may find them “boring” but elsewhere others may be straining to hear that boredom.

clarissa cf: if the policy of the space is that you can’t leave and come back in, be discreet (at the back of the room, very quietly). otherwise, leave and come back in. you’ve paid your money, which gives you some rights, but there is the matter of simple politeness to the people who do want to hear the band.

mike yesenosky: out of respect for the people in the opening act, who might be decent human beings even if they don’t make music you like, no. at least they are doing something productive with their time. keeping your mouth shut for 45 minutes shouldn’t be that big of an ordeal for an adult. plus there are probably people in the room who are enjoying them and didn’t pay to hear you chatting.

stuart moxham: yes, ’cause they’ll improve (or quit.)

robert tono-bungay: interesting. it might be a matter of degree: a word or two here or there, y’know, I don’t think you can help that. although I don’t think it’s ever “ok to chat”, to really go at it. I mean, you whip out a cell phone, everyone thinks you’re a creep; but you do the same thing with a live person standing next to you and that’s ok? on the other hand, a large background murmur DOES send a perhaps valuable message to those in the midst of performance that they might should, y’know, rethink things. and it doesn’t have to be a small place either — I saw portishead at the hammersmith and it was as if someone had drawn this “line of yak” right at the mixing console. everything from the board on up was rapt attention, and from the board on back the place sounded like a broadway theater lobby during intermission. tell you one thing — you sure could tell who paid to get in and who didn’t! CF

how many of the things you have to say cannot wait? do you usually stay toward the back or by the bar so as not to disturb people who came to hear the music?

lisa cf: catty comments about band cannot wait. spotting someone’s ex in a crowd cannot wait. if you are about to faint or vomit, that can’t wait. everything else can.

david huon/driving past: everything that comes into my head cannot wait, because I’ll lose it if I don’t say it straight away. if I don’t lose the truth of it, I’ll lose the appropriate, spontaneous form of it, it won’t be convincing anymore.

liz clayton: I was once at a show at a very small venue and it so happened that a friend of mine, who had just returned from an eventful trip with her husband, was there. while we shouldn’t have been talking, I didn’t shush her when she started to tell me how she was probably about to get divorced, because it seemed pretty important. in between songs, the performer, who was a friend of mine, said “have you ever been performing a song at a quiet club and you’re really getting pissed off because you can hear someone talking and you look over to find the person and it’s someone you’ve been friends with for years?” and gave me a look of death. ouch!

don smith: you are laying a lot of the blame for this talking at the feet of the audience. did you ever giggle, pass notes, or doodle during high school classes? why would you divert your attention from the teacher and perhaps inhibit the other children from learning? because ya get bored and you want to gossip. or were you the kid who tsk-tsked the talkers? and besides, who said that every band is good? the venue’s architecture allows this behavior. the new 9:30 club has a second level and easy-to-access spaces that would allow for conversations during lulls in band’s sets, both the old and new black cats have a wide area in the back for conversations. if I came to a show with friends or came to see bands that I don’t really like just to hang out with friends then the bands need to move me to keep my attention, but that’s what I paid them to do when I walked in the door. another problem which you address is the inappropriate booking of bands into certain spaces. on the east coast the major venues for bands, even indie pop or quiet acoustic bands where songwriting is key, are rock clubs and bars completely inappropriate for such quiet and introspective music. I have seen such mismatched shows before and the crowd can get annoyed that people are talking and drinking in the very bar they went to see quiet library music. the bar patrons probably share the ill feelings about the people who aren’t partying it up in the bar they went to. I would think that if a band is quiet or plays lyrical music where people want to hear the words, the last place that they should play is a bar. that’s why art gallery shows exist. in the end gail, I beseech you, don’t be a playa hata.

tracy dreamy: mostly my words can wait — unless there is a fire or other emergency that I must warn people of.

matt shinkansen: no, because it disturbs the people trying to order drinks. bands have to compete with the bar, and one of them’s bound to lose out — it’s basic darwinism.

robert tono-bungay: I kind of never converse during someone’s set, at least I try not to. I just feel like I want to concentrate on what these bands worked hard (presumably) on presenting. and anyway, I think more people can attribute whatever hearing loss they may have to getting their earholes screamed into at close range than getting a buttload of skronk from some PA.

ld flare: I use sign language or write notes in lipstick on cocktail napkins. CF

originally published in chickfactor 15’s special etiquette poll section.

January 26, 2013April 19, 2017

cf etiquette poll: floor sitting

when, if ever, is floor sitting acceptable at shows?

liz clayton: floor-sitters: please, no lollipops.

dickon fosca: only if such people reserve the right not to mind when I trip over them.

daniel handler: floor sitting is only ok in some sort of hostage situation. I don’t care how mellow the band is—I’m not sitting on the floor. do the words “dry clean only” mean nothing to you people?

matt shinkansen: absolutely never ever. this is hippy talk, and I’m with cartman when it comes to hippies. I’m with cartman when it comes to most things, actually. I used to want to be lisa simpson, now I want to be eric cartman. what does that prove? what’s happening to me? who are all you people? incidentally, out of curiosity, I just looked up “hippy” in the dictionary. one of the definitions is “having prominent hips.”

ld flare: I wouldn’t really, ever—but mostly because I value my trousers.

alex chicks on speed: when the music requires it! sometimes it’s cool to sit and listen and lie on the floor and sleep a bit, ambient music requires this.

lisa cf: never never never unless you are outside.

claudia the magnetic fields: we asked the entire audience of the great american music hall to sit on the floor during the first half of 69 love songs, and they did, all 500 of them, laughing. but then they got annoyed and rose for the second half. we thought we were doing them a favor but they weren’t comfortable.

david huon/driving past: it’s always acceptable, if it’s doable.

andrew eggs / talk it: imagine all the gross stuff on your average city street. dog urine, frozen spit, god-knows-what. we all walk on it, and then we go into clubs and track this mélange onto their floors, which then develop an overlay of beer and cigarette ash. if you plop your butt down on this surface, please don’t shake my hand.

mac of oxford: never, it’s a fire hazard.

don smith: floor sitting is only acceptable when miss julie asks you to sit in a semi-circle for storytime. or if you’re passed out

tracy dreamy: I think it’s okay.

clarissa cf: if it makes things easier to see and does not disturb the vibe of the show (e.g. if the artists are also sitting), I’m all for it.

john phosphene: nothing wrong with floor sitting. the pastels lead the way on that one, as far as my gig-going is concerned and it can bring a really nice atmosphere. I once saw someone crowd-surf at a pastels show: they landed right in front of aggi! somehow, it just didn’t fit!!

james +/- versus: it’s only acceptable if there are seats already and people want to scoot in front of the first row of seats, but don’t want to block the first row’s view…

mike yesenosky: you can sit at the band’s request. sitting between sets is also ok. you stand for someone you respect in all other situations, and if you just shelled out money to see an artist, you respect them. so stand up.

robert tono-bungay: the floor should be relatively free of sticky residues.

this poll originally appeared in chickfactor 15’s cf etiquette special section. photo of liz clayton by gail o’hara.

January 19, 2013April 19, 2017

cf poll: the musical taste of your offspring

describe your kid’s/kids’ taste in music.

alicia the aislers set / magic trick: well, she is very moved by music. her current favorites are journey, katy perry, elvis presley, david bowie. she’ll occasionally ask for alice cooper, the ramones, joan jett, stevie nicks, the grease soundtrack. her first vinyl lp that she would put on and dance to was steely dan. she knows what’s good when she hears it. nothing but honesty from that kid! if it’s a bad song on the radio, she’s like “turn this off! put on some journey!!!”

jessica would-be-goods: bowie, t rex, early elvis costello, classic disney songs (e.g. “everybody wants to be a cat” and “I wanna be like you”) — and the would-be-goods, which is very touching. she used to threaten to kill me if I told any of her friends I was in a band but now she thinks it’s OK and even plays them our music.

mark teenbeat/unrest: one likes lady gaga and the other classical music, though they won’t complain when the kinks are on the hi-fi.

corin tucker: it’s ever changing, but this week it’s skrillex and deadmau5.

dawn cf / agoraphone: it’s a strange mix. folk music of all sorts: woody guthrie, pete seeger, fairport convention, laura viers. then wild flag, ramones, and the fave david bowie (mostly ziggy stardust). I can’t really explain it.

daniel handler: otto started out loving late-period kraftwerk, went through a beatles phase, is now a big fan of stars, metric and (not my fault) chromeo.

andrew eggs/talk it: my oldest son likes music with loud guitars and melodies. he loves melodic punk music like strike anywhere as well as airborne toxic event and stuff that comes on DC101. my younger son’s two favorite songs are “donald where’s your troosers [sic]” and “tie me kangaroo down,” so he’s harder to classify. sometimes he requests music with “people screaming.”

claudia the magnetic fields: I think at this age, the parents dictate that. my friends keep telling me to play her shonen knife or the ramones, or other upbeat punk music. and she does respond well to that. she also seems to love rihanna, from her outbreak of dancing in restaurants to her. but at home we play pretty much peaceful folksy kids records, elizabeth mitchell, putumayo collections, dan zanes, some other kids records like wiggleworms, a bit of latin female vocalists like cesaria evora, some country female singers, some classical, some joni, etc. I think if I were a jazz fan, eve would probably be into jazz right now. she just attaches on to whatever’s playing, including dancing to embarrassing electronics that make little songs.

matt lorelei: ursula likes the family cat, vince guaraldi, polyrock, and burl ives. stephen’s son niko has a brazilian nanny so he’s listening to and digging os mutantes quite a bit.

kim baxter: his current favorites are vampire weekend and the english beat. I play nick drake in his room every night as he’s going to bed but the other night he asked for jeremy enigk instead.

kelly velocity girl: whatever it is they like, they listen to incessantly. here is the honest to god play count from itunes for the past few months from songs the girls picked themselves:

“goody two shoes” – adam ant 146 plays

“sensible”- small factory 154 plays

“dancing queen” – abba 192 plays

“choco la la la” – mr. g 137 plays

“crystal days” – echo & the bunnymen 140 plays

“under the rotunda” – the lucksmiths 138 plays

“suggestions” – small factory 105 plays

“do they know it’s christmas” – band aid 169 plays

“the ramblin’ rover” – silly wizard 146 plays

when they’re born one thinks please let them like good music. when they do they listen to music, good/bad/indifferent it is with such repetition that one prays please let them take up literature.

pete paphides: our 11-year-old is obsessed with coldplay. which is fine. I’d rather not have “edgy” children. she also loves goldfrapp. the 8-year-old is partial to dexys’ too ry-aye album.

gordon the fan modine: my littlest is always turing the radio up and bobbing his head no matter the genre. his older brother can’t get enough rick james.

mike black tambourine / manatee: theo’s gone through a few phases, getting really into one band of genre for a while and then moving on, though he always likes the old stuff too. the first music I think he stated a strong affinity for was jazz, specifically late 50s/60s hard-bop. then he went on a beatles jag, concurrent big troubles and teenage fanclub crazes, and has more recently moved on to punk rock, which he will happily state is the best music and that he’ll “love punk music forever” and “funky” music like james brown and the meters. a chip off the kid frostbite block, I’d say!

bridget st john: definitely in spirit and in desire to play different instruments. she has a great feeling for and love of music. and is an extraordinary poet and writer.

tim dagger: the beatles.

photograph of alicia the aislers set by tae won yu.