Tune In Tonight: Liveblogging the MTVU’s Woodies

Tonight I’m going to be liveblogging directly from Roseland Ballroom, location of MTVU’s Woodies Awards. The fun starts around 8pm. Here’s a preview of what I’ll be talking about:

TV on the Radio*
Gym Class Heroes*
Imogen Heap*
Lupe Fiasco
Ghostface Killah
Lady Sovereign
30 Seconds to Mars
Angels & Airwaves
Plain White T’s
The Academy Is
Gogol Bordello
The Subways
Nightmare of You


The Air Up There: A Visitor’s Guide to the Iceland Airwaves Festival

Every year at the end of October, hundreds of journalists (around 600 this year) and thousands of international music lovers break out their heavy winter jackets, hats, and gloves and flood the city of Reykjavik, Iceland for the Iceland Airwaves music festival. Although Reykjavik is the capital city, the population hovers just under 200,000 people–which is actually 60% of the entire population of the country. (Compare that to the population of the island of Manhattan, over 1 million people.)

A view of the crowd at Reykjavik Art Museum, the main venue of the festival. (Click for larger image.)

Whereas some towns mildly loathe their annual music festival, filling their neighborhoods with unwanted congestion and unbearable lines to venues (Austin, TX for SXSW; NYC for CMJ), Reykjavik welcomes the annual event with open arms. Because the city is so small, the influx of extra bodies seems to nicely plump up, not overstuff, the venues and streets. Bands perform in every available space–coffee shops, cafes, and small shops; even the city’s art museum serves as a venue. Posters (this year designed by Sveinbjörn and monkeymama) touting the biggest bands playing the festival are plastered all along walls and bus stops and it seems as though every wrist I looked at was accessorized with the red wristband that served as the pass to all Airwaves events. Unlike CMJ, the Iceland Airwaves festival is not just an industry event–it’s actually attended by locals, who can purchase wristbands at a reasonable price, so the crowds are largely made up of fans with a sprinkling of professionals.

The main meeting place for those attending the festival is cafe Hressingarskalinn, or “Hresso” for short, the Airwaves Information Center. It’s a hop skip and a jump from where all the venues are so it’s very centrally located. This is the place where everyone checks in and picks up their passes, bands do interviews with journos, and where you can buy CDs, books, and t-shirts associated with the fest. There’s free wifi for all the customers to use, so it’s a highly recommended place to plunk down and get some emails written while you chow down on any of their great-tasting dishes.

By New York standards, the price of food is a bit steep, with a hamburger with fries running you 990 ISK, or just under 15 USD, but by Icelandic standards, that’s normal. In fact, anyone who visits Iceland will quickly realize that EVERYTHING is expensive there. After a while I didn’t even bother calculating how much money I was spending, out of fear that I might have thrown myself on top of a geysir when I realized how much dough I was blowing. The good news is that tipping is not necessary, service is included in the prices. Another place fashionable locals can be seen eating is Prikio, which has tasty sandwiches. But be warned, service is far from speedy at this location, so if you are in a rush to a gig, it might not be the best option.

During Airwaves live music can be found all around. In the early evenings bands schlep their gear through the streets, often suffering from jet lag and/or rough hangovers, to do off-venue in-stores at places like record store 12 Tonar (think Reykjavik’s answer to Other Music) or hip bars like Sirkus and Kaffibarinn all around the downtown area. Realizing the importance of mass exposure to the international cross section of tastemakers and concert-goers at the festival, some bands, like the British pop rockers Hot Club de Paris (below), seem to work overtime, doing no less than 2 in-stores the same night they play their main Airwaves gig.

Hot Club de Paris play inches away from spectators at 12 Tonar record shop. (Click for larger image.)

People pile into the often cramped spaces, standing inches away from the performers as the musicians do their best to impress the crowd. Those unable to get inside stand outdoors, listening to the music through open doors or peering through windows to get a better look at the action going on indoors. Short 25-minute-ish sets give everyone a sampling as to what the bands could do, and the groups hope that these informal gigs will lead to good word-of-mouth and draw out larger crowds to their big show.

The main shows start going around 8pm with up-and-coming bands, and the biggest draws going on around 10-12. Early on in the evening it is very easy to bounce to and from venues–lines are not long, or non-existent at that point. But come 11pm long lines form, sometimes stretching far down the block to get into even the largest of venues. But amazingly, it seemed as though everyone gets in. Usually by the time the band is on, everyone who wants to get in has been stuffed into the venue, fire marshal be damned.

Line outside Gaukurinn during Vice magazine’s party.

I was flabbergasted by all of the venue’s ability to run show schedules with punctual zeal. When the schedule says a band is supposed to go on at 10pm, they are going on at 10pm. The latest I saw a show go off schedule was by 10 minutes. I saw bands actually unplug their equipment at the very last second of the song and SPRINT off stage with their gear in order to keep to their allotted time.

Crowds in Reykjavik are attentive and very polite–perhaps even to a fault. During Kaiser Chiefs‘ set on Saturday night–arguably the biggest show of the entire festival, not a crowd surfer or mosh pit was to be found. In fact lead singer Ricky Wilson had to take it upon himself to get the crowd into a tizzy during “I Predict a Riot” by stage diving into the audience…twice. Yet I did see a couple crowd surfers during Go! Team–which was pretty dangerous considering there weren’t any security guards to catch them in the photo pit–so it’s beyond me to figure out what would get Icelandic kids excited.

The Icelandic crowds are pretty happy to pogo in their own little personal space, as well as do the most organized clapping rallies I’ve ever been a part of. Someone will start a clapping rally and quickly everyone will join in, maintaining a steady 4/4 time without getting faster or slower until the performers come back for an encore.

The lights have come up, and the cops are in van outside, but the crowd at Gaukurinn claps for an encore from The Whitest Boy Alive.

If you want to muscle your way up from the back of the crowd to the very front, it’s entirely possible–there’s usually a good deal of room in the front, especially in the largest venues–but you’ll have to put some elbow into it because once planted, the locals do not like to budge from their spot. There were times when I was leaving from the front of the stage to get out of the venue and people were hesitant to let me pass them. You just gotta push on by and not fret it.

For those of you who have gotten used to the smoking ban in NYC, you will understand immediately that they have no such law in Iceland, puffing on death sticks inside of the venue is permitted. So be forewarned, anything you wear will end up smelling like a dirty tube sock. On the bright side, look out for free coat check areas–available at places like the Reykjavik Art Museum, behind the men and women’s bathroom. There’s a wall full of hangers for you to use to hang up your coat at your own risk.

If you’re a studious little traveler like myself, you would have already read the “Insider Tips” to the festival on the official Iceland Airwaves site before leaving. But I have some clarifications to make to this list based on my experience this year. The first item in the list is to “always go up the stairs.” I stepped inside 4 of the venues participating in the festival, and to my knowledge, only one (the Reykjavik Art Museum) actually had an upstairs. The Art Museum has a limited seating area that directly faces the stage on the opposite side of the building (see the first photo of this post–it’s a view from the front of the stage, you can see the seated area way in the back). So basically anyone on stage will appear teeny teeny to you. The rest of the balcony, which runs along the sides of the building on either side of the stage is quarantined for press and guests of the artists only.

Another item says that you should save room in your bag to bring home loads of CDs. Well yes, you should save some extra room in your bag to bring back the wares you purchase in Iceland, but I do want to point out that the CDs are quite expensive there, running you somewhere in the ballpark of 25-30 dollars per disc. So unless you’ve got loads of cash to spend on music, I would suggest picking your very favorite bands in the festival and purchasing their CDs. Or, if you haven’t noticed, it’s the digital age, so you very well might be able to find free MP3s of the bands you like on their official web sites.

CDs for sale at 12 Tonar record shop.

Like everything else in Iceland, alcohol is very expensive in clubs and venues–costing around 9-12USD for a beer. Most locals get drunk at home before going out, so by the time 11pm rolls around you are surrounded by fully inebriated Icelanders. In Reykjavik the nights run long, with bars closing around 6am on weekends. As you walk down the main streets from 2-5 the mood is of jovial drunkenness. You will hear the sounds of a beer bottle being smashed to the ground ever so often and see crowds of drunk hipsters huddled around hot dog trucks parked by the harbour hoovering the oblong pieces of meat into their mouths (a Reykjavik rite of passage).

Although drinking on the street is officially illegal, the law is not enforced as long as you are not bothering anyone, so it’s a typical site to see folks swigging from bottles as they amble down the main stretch of Bankastraeti/ Laugavegur (nick-named “Pull Street” by the Brits).

Locals are happily drunk on Lagavegur street on Saturday night.

If you are too wasted to walk home, you can always hail a taxi along the main roads. They lurch by in the hopes of people giving up on the night and heading back to their hotel. Of course, taxis are expensive as well–in New York terms, a ride from the East Village to Chinatown would probably run around 20USD. Tipping is not required.

Although the festival runs from Wed-Sunday, the main nights are Thursday-Saturday–the same nights covered extensively by the English-language Icelandic free newspaper, Grapevine. It’s a snarky, alternative paper with young, opinionated writers in the vein of NYC’s Village Voice, and they do a daily publish reviewing the previous night’s concerts, as well as interesting commentary about the Reykjavik music scene and how it pertains to the festival. Copies are delivered to hotels and cafes in the area around 10am Friday-Sunday.

All of the parties happen Thurs-Sat as well. The scene at the airport is pure chaos on Sunday afternoon, so if you can stay an extra day, you’ll have a much more relaxing journey home if you leave on Monday afternoon instead, although you probably will not have as many musician sightings. Sunday usually has some low-key showcases and even movie screenings running in the evening, so it’s a nice way to pace down from the go-go-go atmosphere of the preceding days.

The Iceland Airwaves festival started out as a labor of love in 1999 and has garnered a reputation of being one of the premire concert series in the world just eight years later. According to those who have attended in the past, every passing year the festival gets bigger and better organized, continuing to draw big-name acts and providing a platform to some of the best homegrown talent. Right now the festival is somewhat of an unknown in America, so when you’re at Airwaves seeing bands, it really feels like you are discovering something new and exciting on your own, as opposed to watching a bunch of bands you’ve already heard the hype about with about 40 other people from NYC standing behind you. I’m sure as the concert series continues to grow in size and reputation, that might change, but in the meantime Iceland Airwaves is one of the most interesting and unique festivals around. Enjoy the magic.

For those of you in the US who are interested in attending the Iceland Airwaves Festival in the future, you can book all-inclusive packages (airfare, festival ticket, and hotel) via Icelandair. But if you want to save a little money and don’t mind doing some footwork of your own, you can book a flight on Icelandair (around 500 USD with taxes) and find a hotel on your own (travel services like Expedia or Yahoo! Travel contain listings in Reykjavik). Perhaps not as well known is the fact that you can buy a festival ticket a la carte via Icelandair for around 120 USD by calling up the airline, so if you will not be coming directly from Iceland, or you just don’t feel like giving Icelandair an extra few hundred dollars, that’s a viable option. Those flying in from the UK have the option of purchasing ONLY airfare + festival pass, or an all-inclusive package.

I would recommend a hotel that’s located in the 101 area code. The closer to Austurvollur square the better. Think Hotel Borg, Radisson Sas 1919 Hotel, or Hotel Reykjavik Centrum. That said, accommodations are far from cheap in the city, but you will be thankful when you are rolling out of a bar at 5am and your hotel is only a block or two away. If you cannot afford one of the pricey hotels in the center of it all, a hotel in the 105 or 107 area code would be close enough to walk (about 15-25 minutes). And although it’s a beautiful boutique hotel (complete with a Pizza Hut restaurant), the Icelandair Nordica Hotel is way too far out to be walking to late at night.

Press credentials must be requested about a month and a half in advance (AT THE LATEST) of the festival through the Mr. Destiny team. If you have been selected to cover the festival, they’ll send you a confirmation email toward the end of September and you will be given a press pass at check-in in Reykjavik. The pass allows you go to to all of the shows, access to the photo pit, and invitations to special parties, as well as a free trip to the Hangover Party on Saturday at the famous (and absolute Iceland must-see) Blue Lagoon geothermal pool near Keflavik Airport.

If you don’t mind missing some of the parties and in-stores during the day, I would highly suggest either going on a tour (Reykjavik Excursions is the main tour operator in the area) or renting a car and taking a day trip out to see some of the sights. The main thing that most people see while in Reykjavik is the Golden Circle, which is composed of seeing Gullfoss waterfall, Geysir, a hot spring that spouts out water up to 30m every 7-10 minutes, and the Thingvellir National Park where you will see the birthplace of the world’s first democratic parliament, Althing. You can book in advance through their web sites or have your hotel book it when you arrive. If you book a tour, remember to have your hotel re-confirm the pickup while you are in Reykjavik.

You basically only need one day or two half-days to see the entire city and all the tourist sites, so I would definitely recommend getting out of the city one day and looking at all the beautiful and otherworldly nature the country has to offer.

When you’re going to a country called “Iceland”, you figure it’s going to be pretty cold, right? The truth is that the weather in late October is almost identical to that of a typical day in New York during winter time. Bring a warm coat (I brought a North Face down jacket), a hat and gloves and you will be fine. You may choose to layer up, wearing thin layers of clothes (like a long-sleeved tee under your shirt, or leggings under your jeans) in order to keep extra warm when the wind starts to blow. Although the guidebook I bought (Best of Reykjavik by Lonely Planet) listed October as being one of the rainiest months of the year, I experienced nothing but blue skys and sunny weather. You’ll want to bring at least one pair of insulated hiking boots for any excursions you do that involves visiting glaciers or walking up hills/through rocky areas. Grassy areas near waterfalls can also get pretty muddy due to the exposure to moisture, so make sure to wear gear that is waterproof.

The Music Biz: Where Waving Around Your Private Parts Is Not Grounds for Getting You Fired

The music industry is such a weird place. Why is it that it’s perfectly legitimate to use your naughty bits to sell records? For most people posing in compromising positions is a way to get yourself fired, not a raise. This totally came to mind when I was reading this New York Times article today.

To quote the Times, “college students often post risqué or teasing photographs and provocative comments about drinking, recreational drug use and sexual exploits in what some mistakenly believe is relative privacy.” The article goes on to say how people’s edgy online personas can get in the way of them getting hired for a job.

Then I also read this great post Brandon wrote pondering the merits of releasing nude photos of himself in order to sell albums. For anyone who think that all these “hacks” and “invasions of privacy” are all random acts of embarrassment, well…maye you’re right–but maybe you’re wrong.

I feel like I can’t even turn on my computer anymore without getting an email or reading a blog post about another eyeliner-wearing Warped Tourer self-releasing a photos where he’s flatteringly caught with his trousers down in front of a camera. I know “sex sells” but really, do we have to go down this road?

When will the insanity stop? Seriously, let’s hope this trend is a show-er, not a grower.

Pete Doherty Finally Dropped from Rough Trade?

Wow, someone at Rough Trade finally had it up to here with Pete Doherty and now his band, Babyshambles, has been officially droped from the RT roster. Apparently Rough Trade can handle a lot of things, but squirting a MTV camera crew with blood from a syringe is not one of them.

In related news, Pete’s old flame Kate Moss is doing swimingly as the “sexy and stunning” spokesmodel for the Nikon S6.

Let that be a lesson to all of you: Snorting crack = good for modeling career, squirting blood = bad for music career.

Glad we got that squared away once and for all.

SOURCE: And Now There Is This Distance

UPDATE: Er…Babyshambles hasn’t been “dropped” by Rough Trade…they just haven’t had time to renegotiate a contract. Oooookkaaayy…

Trend of the Week: Musicans Hating People on the Internet…and Each Other

Just when you thought Nick Zinner was the only guitarist that was going to stick it to his critics this week, the king of hating journos and the ‘Net has returned to upstage him. Yes, that’s right, it’s the incorrigible Jack White! Check out the hate spew posted on the WS site yesterday:

What a funny album, coming from divided critics to supposed disappointing sales, to going platinum in several countries, to making most critics top ten lists, to winning a Grammy. That’s funny, right? When that happens pitchfork has to call spin to confer on whether to ignore or make fun of it. They lose perspective, the sewer worker below their lower east side Manhattan hipster bar out smarts them every time. They all play a cowards game. The faceless opinion of print and the internet. What is it teaching all of us?

Back when there was a time when we had great writers, and respected journalists who had earned their position as tastemakers, and won peoples respect with their knowlege and insight, it was much easier to understand a written opinion because at least you knew where it was coming from.

Now those printied opinions are probably coming from the person sitting next to you on his laptop at the mall. Why should you care about their opinion? Why shouldn’t you? Who are all those people on vh1 trashing everyone? Why does a failed stand up comedian have the final word on the rubik’s cube? They are currently digging trenches for the bar to be lowered down into.

…Don’t let them bring you down, don’t let them make you consume. Remember the person’s opinion you are reading probably knows less about the topic you are interested in than you do.


If you read the whole entry, you’ll see Jack go off on Billy Childish. Why? Turns out B.C. (who has toured with the WS) had this to say about the Stripes in the most recent issue of GQ:

“I can’t listen to that stuff. They don’t have a good sound…Jack’s half into the sound and music, but then he wants to be a pop star as well, so you’ve got a big problem. You can’t pull it both ways. Someone compared us to the White Stripes and I said, ‘They’re heading to the stadium with all their might.’ We’ll play the stadium if we have to. They want the fifteen yards between them and the audience, and the big PA. It’s a different animal.”

Geez. I think everyone is cranky this week.


I Call Bullsh-t On “Pitchfork Effect”

As soon as the ’90s ended, music fans were like, ‘Fuck you!’ Now the young people are taking over and are like, ‘I don’t need you to tell me what to like and not to like anymore!’ Take the choices and give them back to the kids, I say.”

When I read this quote from Drew from Broken Social Scene about Pitchfork, I got so rilled up I started writing this comment:

You would think they’d be able to make their site more readable and get better navigation after all these years. Dear lord, going to their homepage is like getting ADD all of a sudden. Oh, and the reviews are pretentious. I think we’d all be foolish to say that their writers are writing totally impartial reviews. Everything that anyone writes is somehow going to be influenced by the writer’s preception of the world, the band, the people that manage the band, etc. Pitchfork just happens to be in the mindset of “we are probably not going to talk about anything your jock friends from high school or your mom would know about.” I think I’d fall off my chair if they liked something that was actually on the top 40.

On the whole idea that Pitchfork is somehow giving power back to “the kids,” that’s a load of bull crap. It’s the bible of people who are so desperate for an “alternative” opinion to established music authorities like Rolling Stone, but then they just end up having the same exact opinions as the other idiots who definitely know they just don’t want to have a “mainstream” opinion but don’t know how to think for themselves. How is Pitchfork any different than Rolling Stone nowadays? So instead of people finding out about bands from Rolling Stone, they are finding out about them from Pitchfork. What’s the difference between being influenced by a writer from RS who happens to really like mainstream pop music and some writer who only likes bands that no one else has heard of? Just because more people are listening to you doesn’t mean your opinions are right.

Granted, Pitchfork succeeds in talking about bands that aren’t covered in Rolling Stone, but one publication can’t possibly cover all the music that’s out there. It’s simply impossible. Pitchfork is just another outlet for people to learn about music if they haven’t already heard of the bands. It’s simply just more exposure. Don’t you think that one day some other site or magazine is going to come along and replace Pitchfork?

But honestly, the real power of music is the same as it has always been–going out and listening to the music yourself, looking for new bands yourself, discovering what you like–not just going along with what other people think is good. In case no one has noticed, you absolutely do NOT have to like a band that Rolling Stone OR Pitchfork like. It is YOUR CHOICE.

Pitchfork and RS are both the same in that they are just part of the individual conversations that people have when they talk about what they think is good or bad in music. Pitchfork is just a new place kids find the bands about which they will talk endlessly on their blogs, in their homes, on IM, etc. “Ohmigod! Did you see what Pitchfork had to say about Sufjan Steven’s latest EP? It’s a collection of ‘songs’ of him farting! They said it was like the equivalent of having an aural orgasm–they said that you’d have an ‘eargasm’ listening to it because of its sheer melodic brilliance. So great!”

And I suppose for many people, people talking about you and listening to your music just to see if it’s really any good is just as valuable as people actually liking your music. If you don’t like what people are saying about a group that you like, or you want to tell more people about a great act you saw, tell people yourself. Go start your own blog/podcast/whatever. Get on your cellphone, send those emails.

Whatever, man.

Pete Tong’s Advice for Apple, DJs, and the Music Industry

Check out this awesome interview with internationally known dance music DJ Pete Tong from Wired. He has some really interesting things to say about how technology is affecting the art of djing, how aspiring spinners can start gaining a following, and what Apple needs to do in order to keep folks like him feeling good about the company…among other things. Here are some highlights:

Be as entrepreneurial as you can; no one will do everything for you. There’s no better way I know to build a reputation as a DJ than to do your own thing, do something different, start your own night, get your own crowd. If you are getting 50 people to a bar on a Tuesday, people will check you out. Once you have a crowd, you have a scene, it’s human nature. Taste is the most important thing.”

“Things have changed so much. Bands can build an audience all by themselves. Market research has gone out the window, labels just follow the heat, really. They maximize artists who are already doing well. I think it’s really honest, actually. Almost everyone who arrives at a label’s door already has a story.”

“In terms of radio, podcasting‘s the most exciting development ever. For anyone with a niche or specialist reputation it’s manna from heaven… Podcasting is the next stage: You can grab it, download it to your iPod and subscribe to it. I just want to be in there to see where it takes us.”

Red, White, and Blue about America

The White Stripes @ Roseland Ballroom, Nov 2003

This made our month.

In their first proper interview of 2004, The White Stripes talk to the Observer about their formerly friendly Detroit comrads, why they dislike America, and why they just might move away from their hometown.

The highlights from the interview by Andrew Perry:

Jack on Jim Diamond: “Some people, you realise that they’re looking at it differently than you’re looking at it. Fame and money, that is. That can only fall on their own heads in the end, not us. Because we love everybody, and if you’re not out to hurt anybody, then you won’t get hurt in the end.”

Jack on Jason Stollsteimer: “He pulled a contact lens out of his eye that he’d left in for a year, and he’s trying to blame me for it. Such a manipulator! I really feel sorry for the people in that band. You don’t know what it’s like being on tour with a band, and they’re all complaining and crying. That guy is a provoker, a really bad person, but the way I see it, the more I talk about it, the more he gets what he wants.”

Andrew Perry RE: talking to Jack about Renée: Their publicist warned me that Jack would almost certainly terminate the interview at any mention of his relationship with Hollywood actress Renée Zellweger, which is ongoing and steady, by all accounts bar tabloid ones.

Jack on the American music landscape: “What do we have? Ashlee Simpson instead of Patti Page! I mean, look at those people – like Paris Hilton! Who are all these skanks, man? Little girls are looking up to these girls, and it’s so gross. Those girls have no dignity at all, and parents are letting their kids dress up like those skanks. But what else have they got? What are the other choices? Oh well, ha ha ha [laughing angrily at the folly]! Somebody had the nerve to ask me if I wanted to play guitar on Lindsay Lyons’s [sic] album! Ha ha ha! She’s another one of those 16-year-old actresses, and she’s making an album! Like, ‘NO!’ Ha ha ha!”

Meg on American politics: “It’s a rough time. I haven’t seen people be so obsessed and upset in my lifetime – you know, about everything. My dad always told me, they should always have a third choice on the ballot, like ‘none of the above’, then if enough people picked that, they’d have to get new candidates.”

Jack on Detroit: “I don’t yearn for this town any more. It’s so decrepit, and the government’s so corrupt, and it’s getting in my way more than helping me. It’s hard to be comfortable any more. What I used to love about it was, we could play drums on the front lawn and the cops wouldn’t even show up, but now I don’t care any more about that. I don’t wanna play on the front lawn any more.”

Jack on whether or not he’d move away from The D: “I might, actually. There are plenty of places prettier than this place, maybe down south. That’s the real America, I think. That’s the last bastion of culture in the country, where people really have American culture. There’s parts of Appalachia that still maintain those mountain songs, those feelings that convey Americana. I don’t think you can get that in any major city ever again. It’s gone forever. I read old books about Detroit from the Twenties and Thirties, and it was such a beautiful city, but it’s been destroyed. You think how wonderful it could’ve been if it had just stayed that way.”

Jack on quitting smoking: “My voice was getting really really bad. I was losing all the high end. I’d heard some old tapes of us play, and I was really disappointed in the way I couldn’t hit these notes anymore. I didn’t know what to do. I didn’t wanna stop.”

Jack on working with Beck: “I was just working with Beck a couple of months back. It’s this song where I played bass and he played Fender Rhodes on it. We just started working on it. He had the Dust Brothers producing on it, and the studio wasn’t really for me – it was just like, a computer. They know what they’re doing, they’re really good at what they do. Beck sent me the song not too long ago, and he’s done some really cool things with it after I left. “

Read the complete transcript.

Pre-order a copy of the soon-to-be-released White Stripes “Under Blackpool Lights” DVD on the official site (it comes with a “free” tshirt) or for half the price on Amazon.