Wednesday, March 30, 2005

Noise from the Underground/Columbia University/March 29, 2005

Amy and I were supposed to a do a blazing IM recount of last night’s throwdown*, but the girl is M.I.A. (and not in a galang way, either). Perhaps she’s too shy to recount her brief time on a stage filled with music journalism luminaries. Or maybe she’s been immediately whisked away to a containment center deep in the Rockies lest she reveal any more highly confidential blogging secrets.

But they didn’t get me. Here’s a list of not so secret secrets revealed.

1) Sasha Frere-Jones is a master moderator. Ha-ha-inducing, squabble-ready, hat-wearing and always with his hand on the control panel, he is a good argument for the rock critic as performer model. If you’ve been in a band, you’re cool with sitting on a stage in a packed, overly heated room serving up the banter. If you’ve hidden yourself away with your laptop and vinyl since age 12, well, you might not be so good at this kind of thing.

2) That guy Knox from the Fader is a trip. This is probably a litigious statement, but he seemed as though he baked and staked that night. A big brouhaha erupted when he claimed that professionalism in journalism serves to marginalize under represented groups. I actually think that he was misunderstood. I may be wrong, but I think that what he was trying to say is that the inverted pyramid traditional music crit style (this is what I think he meant by the term “professionalism”) blocks out things because of what it has to include in order to keep the professional style intact. So, a piece on Band A will have to include who, what, where, when, why in favor of some other fringe info and feel. Knox, you out there? Help us out, man.

3) Anthony DeCurtis was a brave fellow for volunteering to be the stand-in for The Man. He got pummeled repeatedly for being part of the establishment. You know what? He didn’t apologize. I have to respect that in a way.

4) I kept making thought bubbles appear over Tunde’s head. I wish that he had spoken more. It was interesting when he talked about getting stacks of clips about his band and how reading them one after another makes it abundantly clear how much biting goes on in the world of journalism. Cut-n-paste journalism = scourge of a nation.

5) I wish that there had been some representation by the Mp3 bloggers.

6) Amy yet again shamelessly promoted her mother. Amy’s mom has got it going on, but c’mon already. Uh, hi Mrs. Phillips. Amy was talking about when she writes for the Philly Inquirer, she imagines that she’s writing for her mother. I only imagine that I’m writing for my mother when I create my special poetry that I keep in my special place that helps me release my special feelings as advised by my Freudian analyst. Uh, hi Dr. Hammerichen.

7) I can almost completely visualize what Michael Azerrad was like in the 80s/90s, surrounded by stacks of seven inches and zines. Which is to say that he is cool. I mean, his name includes the word “rad.” I liked how he brought up the social climbing elements of links on blogs (not that there’s anything wrong with them, cough, cough…) as I don’t think people really discuss this kind of delicate old boy’s network nicking.

8) Mad props to Brandon Wall for keeping a day job in the j-biz and curating a professional looking music site. Not easy to do.

*In the spirit of full-disclosure (ain't that professional) I must mention that I am affiliated with the National Arts Journalism Program, the generous organization that put on this event. I was a NAJP fellow last year.

Sunday, March 27, 2005

Tuesday: Hot Music Nerd Panel Action!!!

Apparently, somebody somewhere decided that I'm some sort of music blogging expert or something. So, I'm going to be on this panel at the Columbia journalism school on Tuesday talking about "pop criticism and cred in the era of MP3s, zines and blogs." Want to see me make a complete fool of myself in front of a bunch of V.I.P. rock critic dudes and the singer from TV on the Radio? Now's your chance!

For more info, go here:

The National Arts Journalism Program Presents

Pop Music Criticism Panel Discussion
At the Columbia University School of Journalism

New York, March 16 –Newly minted Web zines, blogs, alternative glossies and other do-it-yourself publishing channels, and what they all mean for the future of pop criticism will be the focus of a panel titled, “Noise from Underground: Pop Criticism and Cred in the Era of MP3s, Zines, and Blogs. The event is sponsored by the National Arts Journalism Program (NAJP), a research center and fellowship program for arts and cultural journalists housed at the Columbia University School of Journalism. Sasha Frere-Jones, pop music critic from The New Yorker, will moderate the conversation.

The event is free and open to the public, though RSVP is recommended. Individuals (non-media) wishing to attend should RSVP to 212.854.2549 or

WHAT: “Noise from Underground: Pop Criticism and Cred in the Era of MP3s, Zines, and Blogs”

Sasha Frere-Jones, pop music critic from The New Yorker (moderator); Tunde Adebimpe, musician, TV on the Radio (Touch and Go Records); Anthony DeCurtis, contributing editor, Rolling Stone, executive editor, Tracks, and editor of “Present Tense: Rock & Roll and Culture”;
Amy Phillips, blogger,; Knox Robinson, editor in chief, The Fader; and Brandon Wall, editor in chief,; Michael Azerrad, author of "Come As You Are: The Story of Nirvana and "Our Band Could Be Your Life," editor-in-chief of

WHEN: Tuesday, March 29, 6:30 p.m.

Columbia University Graduate School of Journalism Lecture Hall, Third Floor, 116th Street and Broadway.

Tuesday, March 22, 2005

The Go! Team/Southpaw/ March 22, 2005

caryn (1:19:52 AM): It's weird to see a band and not really know the music. One of the weirder show going events in my life was seeing Tenacious D before I had ever caught the tv program. Everyone there was singing along. I felt like an alien.
amy (1:20:33 AM): oh my god you saw tenacious d live. i am so jealous
caryn (1:21:26 AM): Oh yeah, at this smallish club in Portland. When they were real culty. So, without a lot of pre-knowledge and some minor absorption of the Go! Team phenom, I have to say, I was not impressed.
amy (1:21:09 AM): the go team live experience is quite different from the album actually. the album sounds like a cut-and-paste dj record, like the avalanches
caryn (1:22:39: There seemed to be a total lack of cohesion with the stage show. Seriously, they reminded me of the dorky brother's band in Welcome to the Dollhouse. But not as good. And without the occasional sprightly sound of klezmer clarinet.
amy (1:23:10 AM): there was banjo, harmonica, melodica and recorder! surely that made up for it. yes, i agree they were sloppy. but i thought that made them endearing.
caryn (1:24:02 AM): I hated how the lead lady, as peppy as she was, tried to hype everyone with the most clichéd moves ever. Ye olde "Repeat after Me." Ye olde Battle of the Sexes. Ye olde wave yer hands in the air. Boooor-ING.
amy (1:24:32 AM): this is also true. it was quite cliché. but, once again, she was so cute it was endearing
caryn (1:25:23 AM): C'mon Amy. That's just weak. You usually don't let people slide just because they're cute. Or...maybe you do.
amy (1:25:56 AM): not just cute. endearing. getting over on pure charm.
caryn (1:24:45 AM): The bass player? He looked like those pictures of John Kerry from when he was in that garage band in his youth.
amy (1:24:57 AM): yeah! and he was wearing a springsteen-esque headband
amy (1:25:27 AM): as for the battle of the sexes, have you ever heard someone make the guys say "aahh-ooh, aahh-ooh" like dogs in heat
caryn (1:26:59 AM): Whatev. Some Brit lady came up to me and was like..."so, what do you think of 'em?" I wasn't sure if she was their sister or something. I was like, "Honestly? Not too impressed." She giggled and said, "Me either. I mean, they're from England, and I'm glad they're doing well, but..."
amy (1:28:36 AM): oh also, the mix was shit
amy (1:28:41 AM): made even worse by my earplugs
caryn (1:27:53 AM): I know that that record is likely much better and more complex and more cohesive. I will check it out before I delete Go! Team from my Buddy List.
caryn (1:31:34 AM): Ok, the two drummer thing. Trick or treat?
amy (1:32:00 AM): trick AND treat!
caryn (1:32:18 AM): Why?
amy (1:32:49 AM): well they obviously didn't need two drummers. and both drummers were playing along to backing tracks
amy (1:33:02 AM): so they weren't really adding to the music
caryn (1:33:05 AM): That's the trick.
amy (1:33:08 AM): yes
caryn (1:33:11 AM): What's the treat?
amy (1:33:26 AM): it seemed like they were like "hey, people will think it's cool if we have two girl drummers! let's do it"
amy (1:33:33 AM): the treat: it was cool!
amy (1:33:51 AM): i love watching female drummers
caryn (1:34:10 AM): Hmmm. Not buying it. A whole family in Africa could have been fed for a year just with the cost of transporting that second drum kit around.
amy (1:34:32 AM): oh come on. you think madonna shouldn't have backup dancers? kiss shouldn't use pyrotechnics?
amy (1:34:41 AM): it's the same thing. spectacle!
caryn (1:35:29 AM): I love a spectacle. Hooray the spectacle. This hardly was a spectacle. Maybe it their drumsticks were on fire. If Sheila E. can do it….
amy (1:36:01 AM): well, two girls, one of which is adorably pudgy, playing the drums with big goofy grins on their faces, is enough spectacle for me
caryn (1:36:23 AM): You are so gay Amy Phillips! I can see the movie now...Drum Fine XXX.
amy (1:37:05 AM): the boys in the band just weren't as cute as the girls
amy (1:37:37 AM): also, the show was very desexualized
amy (1:37:43 AM): it was like a children's birthday party
caryn (1:38:08 AM): That one with the orange t-shirt had a goofy rolling on X grin. Like Bez from the Happy Mondays.
amy (1:38:34 AM): according to my friends, that is the guy who made all the music on the album
caryn (1:39:30 AM): I think you're right about the total lack of sexualization. Maybe that's why I didn't like it. And why it reminded me of Welcome to the Dollhouse. It was a musical Special People's Club.
amy (1:40:02 AM): even when the lead girl started shaking her ass all rap-video-like, it wasn't sexual
caryn (1:40:31 AM): The audience (except for me and Lady Brit) were really into it, though.
amy (1:41:05 AM): a lot of people in the back weren't into it. but i was quite surprised at the enthusiasm. because, as the lead lady said, nyc is not known for its dancing audiences.
caryn (1:42:22 AM): Most of the audience seemed to know all the songs.
amy (1:42:30 AM): ah, the power of the internet. oh i saw that they were selling 13 piece button sets at the merch table for 5 bucks
amy (1:43:04 AM): 13 buttons!
caryn (1:43:12 AM): All Go! Team?
amy (1:43:16 AM): yes!
amy (1:43:26 AM): you could decorate the entire front of your shirt with that
caryn (1:43:34 AM): Or your ass.

Tuesday, March 15, 2005

Texas Vacation!

And by "vacation" I really mean "working more than ever."

For the next five days, my physical self will be in Austin, Texas at the industry orgy known as South by Southwest. My cyber self will be here. Check it out! It will be just like More In The Monitor, only with lots more photos, and updated several times a day. But don't worry, I'll be back here next week. I haven't sold out...yet.

Goldie Lookin Chain / MC Lars / Mercury Lounge / Mar. 14, 2005

Hip-hop is all about keeping it real, right? Rhyming about what you know, where you come from, who you hang out with, etc. Goldie Lookin Chain and MC Lars are doing exactly that: telling the truth about their lives. So why are they considered fakes? Why is 50 Cent rapping about selling crack real, but GLC rapping about remembering the phone number for the taxi service when you’re drunk fake? Or Lars rapping about Edgar Allen Poe? He is an English major at Stanford, after all.

Yeah yeah, I know the answer. It’s because they’re white and they’re silly and some people might say they’re being disrespectful and exploitative. But still, if it’s a choice between the Game (except for that wicked track where he rhymes about Lamaze class) and some boring-ass eat-your-vegetables conscious backpacker crap or GLC and Lars, I’ll take fake rap every time.

Lars is Atom & His Package and Tall, Dark and Handcuffed-era Cex wrapped up in one big, goofy blonde-haired, blue-eyed California hunk. He would make a good pool boy. He was wearing a Run DMC shirt, baggy jeans, a Hot Topic studded belt, an Oakland A’s baseball cap and Simpsons boxers. I know about the boxers because when he began his set with some regal overture music, he raised his fist at the climax, which caused his shirt to lift up, revealing the Simpsons logo. Once you’ve shown the crowd that, there’s no turning back.

A pre-recorded track announced that Lars was really nervous about opening for GLC and playing in front of so many industry types. If that was true, he didn’t show it, rocking the punk-emo-rap-laptop jams from here to kingdom come (or at least to Long Island). He played everything from The Laptop EP and a few I didn’t know, like the one about falling in love with a girl with wicked rhymes (“every Biggie needs a Kim”) and “Rapbeth” which was, um, Macbeth as, um, rap. His set was kickin’, but I can’t wait until he plays Irving Plaza on March 31st with Bowling for Soup. Suburban pop-punk kids—that’s his true audience. Not hipsters and Welsh people. Somebody get this guy on the Warped Tour pronto!

As for GLC… oh man. I don’t think I’ve laughed that hard at a concert since the first time I saw Electric Six. Or maybe Avenged Sevenfold at last year’s Warped Tour. Anyway, GLC are eight Welsh dudes in vintage track suits, ironic (maybe not?) thrift store t-shirts and, of course, fake gold chains. They all have the worst haircuts ever (maybe best?) There were several mullets and neck-beards. One guy looks like John Lennon. He was wearing a headband. Another guy looks like the singer from The Soundtrack of Our Lives. He was wearing a shirt that said URBAN. His rap name is Mystikal. (I guess he didn’t realize that was already taken.)

Topics discussed: Dickens, alchemy, mothers with penises, their hometown of Newport, smoking marijuana, putting tin foil on one’s head in an effort to become a robot, short-term memory loss, roller discos, proving one’s love by tattooing one’s lover’s initials on one’s testicles, taxi cabs, guns don’t kill people, rappers do. Interpolated songs that I recognized: “Maneater” by Hall and Oastes. "Ice Ice Baby" by Vanilla Ice. "21 Seconds" by So Solid Crew.

Oh, also, I take that back about the Shadetek crew busting the wackest moves since Elaine on Seinfeld. These guys totally win.

Sunday, March 13, 2005

Grime Presents: Bangers & Mash 3 featuring Jammer, D Double E, Ears, Shadetek / Rothko / Mar. 11, 2005

I never thought I’d actually have fun at a release party for a record put out by Vice, but hey, never say never. (The record, Run the Road, is bonkers by the way, but you knew that.) The crowd was mostly nerds—rock critics, record collectors—with a few model-gorgeous types snake-hipping to the riddims and making the rest of us feel fat and ugly. It was too packed to really dance, though, so we mostly jumped up and down and threw our hands in the air. This resulted in the tall guy standing right behind me hitting my ponytail a lot. But a heightened state of agitation is ideal for experiencing grime, right?

The Shadetek Crew, who host this monthly Bangers & Mash party, were the biggest nerds there. Two pasty white dudes, one in a hoodie and one in a knit cap, busting the wackest moves since Elaine on Seinfeld. But it was actually the best thing ever, because they were SO into the music they were spinning, they didn’t give a shit that a roomful of tastemakers might think they looked stupid.

After midnight, the MCs appeared, special guests from England on their first U.S. tour (but not their first U.S. appearance—that was Thursday night in Philly. For once, Philly scooped NYC!). D Double E: watch out for this kid. He looks like a younger, hungrier DMX and raps with the same intensity. Staring out above the crowd, he fixed his eyes on a point in space and, I swear, didn’t blink for a minute. Jammer was bouncing all over the place, dreadlocks flying and sunglasses coming on and off. Ears, well, I don’t remember too much about him. Must not have had much stage presence.

The beats, oh man, the beats. Gunshots on tin roofs, GameBoys gone cannibalistic, shuddering handclaps. You know the drill. Sometimes I feel like I can’t get enough of this stuff. At one point, they rapped over a loop from Kylie’s “Can’t You Out of My Head.” Hot!

One complaint, though. One BIG complaint. And maybe someone can explain this to me. What is up with the whole play-thirty-seconds-of-a-track-then-stop-it-and-play-it-again thing? They kept doing it! It drove me crazy! Just when a groove would start warming up, they’d stop it! Is there something I’m not getting here? It was definitely on purpose—nobody is THAT bad a DJ, not even me. Arrrgh.

P.S. M.I.A. and Diplo are dating! Thanks for the hot gossip, Dan!

Friday, March 11, 2005

Death From Above 1979 / Bowery Ballroom / Mar. 10, 2005

These guys are hilarious! Who knew? Not me. They make their grand entrance to the sound of cheeseball MIDI pomp & circumstance, in complete darkness except for a spotlight on their logo. That would be comedy gold in and of itself, but it’s made doubly funny by the fact that both guys were on stage a minute before, setting up their equipment.

The bassist is still rocking the grown-out bowler cut/moustache combo, but the drummer has a faux-hawk now (he acknowledged its fauxness) and his moustache isn’t as extreme. When he takes his shirt off halfway through the set, he looks like a less tattooed version of the drummer from Blink-182.

They talk about the first time they played in NYC, at Luxx a few years ago. They tried to steal an amp from the club but got caught by a security camera. (Could that have been the start of the DFA / DFA feud?) The bassist introduces “Pull Out” by saying, “This song is about not trying very hard not to make babies. It’s about when you love somebody so much you don’t care if you get them pregnant. Which is to say that it’s a love song, not a song about how much fun it is to ejaculate.” He apologizes for getting sick and having to cancel the Mercury Lounge show in January. Two minutes later, a drunk middle-aged woman is pushing her way through the crowd towards the front, screaming “I have a question! Which one of you got sick at the Mercury Lounge!” The drummer tries to have a conversation with the audience, decides it’s useless, then says, “why are we talking about stupid shit? we should be talking about the political situation.”

As for the music, it was exactly what I wanted. Ferociously loud, just the right amount of sloppiness, locked-in grooves all over the place. People went semi-wild during “Romantic Rights”—there was even a crowd-surfer. I figured out why I like the song “Black History Month” so much: the riff sounds just like X’s “The Unheard Music”! Actually, it’s more like the cover of that song that Elastica and Stephen Malkmus did on the Suburbia soundtrack.

Monday, March 07, 2005

The Dirty Projectors, Akron/Family, Other Passengers, R. Stevie Moore / The West End Basement / Mar. 5, 2005

I guess all that blog buzz paid off, because this show was packed. I don’t think I’ve ever seen the West End basement this crowded before. Like, I had to sit on a bass drum next to the mixing board in order to get a good view of Other Passengers. Now that I think about it, that probably wasn’t a very wise idea, since it meant that I was about 6 inches away from the bass player, and he flailed around quite a bit. But he was quite cute and doughy and Ben Gibbard-like, so I didn’t mind.

Watching Other Passengers, I felt the same way that I did seeing the Walkmen at that WBAR show in 2001: these guys are about to blow up, and I can see why, but I just can’t get behind it. Their music is dark and churning and, uh, “angular”… but so are the 500 other bands that send me their CDs every week.

At least OP didn’t physically repulse me like Akron/Family did. Ok folks, this hippie-revival thing has officially gone way too far. These dudes are like Need New Body without the creativity or the grooves, or frat boy Dave Matthews fans trying their hand at “that freak-folk stuff we’ve heard so much about”. Now, I must admit, I only made it through one song. But it was a really long song. The beards and wool caps and Christmas lights and noodling and a cappella campfire singalong and drum circle breakdown were just too much. And this band is signed to Young God! Michael Gira, cut down on the peyote, man, jeez!

The Dirty Projectors are the ones who should be getting all that big-indie label love. Dave’s vocal styling is kind of nails-on-a-chalkboard for me, but I have mucho respect for what he’s doing, and I can see why so many of my friends think he’s a genius. He never really hits notes, he just kind of flutters up and down the scale in this weird, otherworldly falsetto—kind of like Antony or Devendra, but a bit harsher. The last time I saw him play, he had a full band backing him up, complete with horn and string sections, and that was such amazing sensory overload. (Full disclosure: the drummer was my boyfriend.) This time, he was accompanied only by a pair of female backing vocalists and a cellist. It was chamber art-pop to the max. The ladies were insanely hot, too, like naughty secretaries gone Suicide Girl. Somebody told me they were from Finland. Unfortunately, their set was cut short by the West End’s manager, because the concert had allegedly gone over its time limit.

That was probably because R. Stevie Moore played for what seemed like 3 hours. Now I also have mucho respect for R. Stevie, but I only have so much tolerance for a guy croaking off-key ramblings making fun of college students. I know he has some good songs in his massive repertoire; he just didn’t play any of them. R. Stevie did provide the best line of the night, though: “SIT ON MY FACE, GRETCHEN WILSON!”

Friday, March 04, 2005

Plug! Plug! Plug!

My beloved former college radio station, WBAR, is putting on an awesome show tomorrow night. You should go! I’ll be there!

Here’s the info:

Barnard College
87.9 FM Fundraiser Bash!

Saturday March 5th, 8PM

With performances by:

THE DIRTY PROJECTORS (new double cello and upright bass line up)

AKRON/FAMILY (sweet like a cosmic iron wine, YOUNG GOD RECORDS)

R. STEVIE MOORE (yep, that's right)

OTHER PASSENGERS (moody psych rawk)


@the west end basement, 2911 Broadway

between 113th st and 114th st

take the 1/9 train to 116th St.


price: $5/$3 with student id

time: 8pm

for more information:



*FULL DISCLOSURE: I am very close friends with the members of this band.

Thursday, March 03, 2005

Sleater-Kinney/Mercury Lounge/March 2, 2005

I have to wonder if all this noise about the new Sleater-Kinney record being loud is really just another subconscious battle of the sexes?

I have The Woods, S-K’s latest, and no doubt it does sound different than their previous stuff. There’s lots of fuzzy bass sounds and rolling psychedelic riffing, but when people say that it’s loud, what do they really mean?

Call the Doctor was loud. Dig Me Out was loud. Hot Rock was loud. All Hands on the Bad One was loud. One Beat was loud. Shit, they are all loud. But loud in a different way. Those previous records featured Corin Tucker’s high vocal shrieking and Carrie Brownstein’s serrated guitar leads. Now, with The Woods, it’s a darker loud, a deeper loud, a meandering loud.

Could people be confusing “loud” with “masculine?” The previous records were loud in an unmistakably feminine, soprano-seeking way. This is a band without a bass player, remember. But this record reaches for the bass. Skuzzy, boy bathroom bass. Corin still keeps up a pitch that’s on top of a mountain, but the music is running down the hill away from it. This is a new dissonance. The new loud.

It was great to hear the just birthed songs unleashed in the relative small environs of the Mercury Lounge. They played most of the The Woods. I’ve seen the band about 15 times in my life, so I can say some certainty that the wacky, dramatic faces Carrie made while singing were entirely new. If she sang the word “crazy” she’d pull this complete lunatic pose. It was sort of punk rock kabuki. Corin is becoming more and more a lush earth mama. During some of the noodling songs, she had her eyes shut and bowed her head just so; for a split second, she almost looked like a hippie…not that there’s anything wrong with that.

Not all of the newer songs trail in the footsteps of Big Brother & The Holding Company. Some have an airy 1970s AM radio feel, like “Modern Girl” which has this bright chorus that goes “My whole life is like a picture of a sunny day.” At first listen, "Modern Girl" sounds like a happy song until you unpack the lyrics and you realize that, duh, if your life is like a picture of a sunny day, well, it’s not officially sunny. They played that song. They also played one of the better songs from The Woods called “Jumpers,” which for some reason reminds me of a Mirah jam---jabs of harmony, brisk singing, marching beat. It sounded really strong live, their voices turning grapes into jelly.

The night ended with an encore of the old favorite You’re No Rock-n-Roll Fun, which I mentally dedicated to my favorite unofficially straight-edged blog partner, one Amy Phillips.

Oh yeah, the band before them, Pela, was mostly unremarkable except for this one lyric of theirs that struck me as outrageously poetic: "You have a fragile face in a public place."

Wednesday, March 02, 2005

Breaking News

Caryn Brooks and The Amy Phillips have been at odds for a few weeks as they exchanged long distance jabs but on Monday night (February 28), the beef between the two former collaborators escalated. reports that a 24 year-old woman from Portland, Oregon, was shot in the leg outside of New York's WQHT as Caryn Brooks was conducting an on-air interview.

According to a post by The Amy Phillips’ friend Daphne Carr on the blogger’s The Music Issue website, The Phillips and her entourage were attempting to enter the radio station to confront Brooks but they were denied admission and an altercation ensued. According to Carr, a member of their entourage was allegedly shot by someone affiliated with Brooks and they are now holding Brooks responsible.

Brooks, who was on air at the time, abruptly stopped her interview and was ushered out of the back exit of the radio station once news of the shooting reached the studio.

Before the interview was interrupted, Brooks explained that The Phillips was no longer a member of More in the Monitor because she was disloyal. The blogger was referring to comments made by The Phillips on Saturday (February 26), that she didn't want to be involved in Brooks’ beef with bloggers Fluxblog, Douglas Wolk, and Ultragrrrl.

Brooks also said that The Phillips should stop saying More In the Monitor and added, "She thinks she's doing me a favor when she says that."

Later Monday night, shots were also fired outside of Blogger. The company hosts Matos, Anthony is Right, One Louder, and Daphne Carr. No one was hurt in the incident.

No arrests have been made in either case.