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Featured Mixtape

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I Heard it On the Fish Fry

1 Squeeze Me Again
2 All That Meat & No Potatoes
3 so round, so firm, so fully packed
4 Big Leg Woman
5 Big Legs, Tight Skirt
6 Big Kneed Gal
7 You Bring Out the Boogie in Me
8 Is You Is or Is You Ain't My Baby
9 What I Used To Do All Night
10 Get On Line, Baby
11 Soothe Me
12 Something out of Nothing
13 Everything That Touches You
14 Jambalaya
15 Chitlins con Carne
16 House of Blue Lights
17 Have You Ever Loved a Woman
18 When You Walk Out the Door
19 3 O'Clock Blues
20 Open House at My House
21 Further On Up The Road
22 Sitting On Top O' the World

Featured Article

picture for article On Holding Hands at Shows: Girls at Bimbo's in SF

On Holding Hands at Shows: Girls at Bimbo's in SF

Because the personal narrative at the heart of most Girls songs is so twisted and inaccessible -- Owens grew up in a cult and escaped into drugs and punk rock as a teenager -- it's amazing that this music is so perfect for hand-holding. Christopher Owens is no James Taylor, of course, but there's no denying the easygoing, almost romantic side of his oeuvre.

-- Ryan Mixtape

picture for article Pitchfork: Brand vs. Band

Pitchfork: Brand vs. Band

That's why this year's plan is both risky and exciting from a business perspective. All other things held constant, Pitchfork could easily raise prices, since it has clearly been selling at a price lower than the point at which the demand and supply curves meet. However, unlike Coachella and Bonnaroo, which rely primarily on their lineups and pricing to drive brand value, the Pitchfork Music Festival's brand also gains tremendous value from Pitchfork's core offerings. So the levers it can pull are more varied. Essentially, Pitchfork has the unique privilege of choosing to hold price, but nothing else, constant.

-- Ryan Mixtape

picture for article The Creators Project in San Francisco, March 17

The Creators Project in San Francisco, March 17

A really interesting effect of the Creators Project format is that the broad focus on technology and art (the music pavilion accounted for only about 25 percent of the event's total footprint) freed the musicians to focus on performance rather than spectacle. After all, it’s nearly impossible to compete with the building-size interactive light-and-sound rendering of Origin by United Visual Artists. The Creators Project will hopefully continue to add smaller cities like San Francisco to its world tour of art, technology and innovation.

-- Ryan Mixtape