Born's impressive mixtape, 909 Jack BTS Pause Mix, is out today. It's an 18-track onslaught of released and unreleased material designed to stir anticipation for Behind The Scale, which drops Feb. 14.

909 Jack is free. Listen below.

The Coliseum Reborn? File this in the Department of Slightly Far-Fetched Ideas. A local firm is gathering area architecture students to come up with proposals to make the decrepit and vacant Uline Arena (formerly the Washington Coliseum) into a for-profit music museum and performance space. The site, which is currently owned by Douglas Development, has been a lot of things over the years, from a sports and music venue to a parking lot to, recently, the site of some experimental theater. As for music: It hosted The Beatles' first-ever U.S. concert; later, go-go shows took place there. Certainly, D.C.'s musical history is bountiful enough (Duke Ellington, Marvin Gaye) to deserve a museum, even if its most notable sounds of the last 30 years (go-go, hardcore) are pretty subcultural. Douglas says its interested in the concept, but it still might be a tough sell.

In case you really need to know, "IDGAF" stands for "I don't give a fuck." On the brassy Oddisee-produced track, the three MCs chastise the DMV's last-standing crabs-in-a-barrel theory, laughing at their haters in the process. "I don't want no parts of that wack shit/Tryin' to stay far from distractions," Sm rhymes.

DCMumboSauce has the single. Go there to listen and download.

On the national side of sounds, the year was mostly about slowing down and turning up the bass (see: James Blake, Drizzy Drake, The Weeknd, Bon Iver, Girls, Frank Ocean). However, some Haterade for all the buzzy mp3s I kept getting tricked into tasting seems in order:

• Shabazz Palaces – We don’t believe you.
• Clams Casino – Can’t tell this apart from Cities Aviv.
• Real Estate – Fitting that there’s a track on the album called “All The Same.”
• Washed Out – Really, really did not enjoy anything about this.

Turning inward, here are some vital local hits to consume while we all wait for Skrillex to unveil his next masterpiece.

5. Pree, Folly

During my college-newspaper days, staffers spent an inordinate amount of time debating the merits of Joanna Newsom's Ys. I was more interested in Clipse's Hell Hath No Fury, but the arguing still seemed ridiculous: Either you dug music as finger painting—as precious, densely orchestral blasts about cartwheels and goats—or you preferred structure. Pree's May Tabol stirs similar cocktails, though the blender of ideas is proudly worn survivalist creativity: Folly stems from scattered sessions across area English basements. The DIY whimsy adds a shot of desperation to Tabol's gems about sailing boats and parading floats. What's a good home without some creaking stairs anyway?

4. White Faces, Self-Titled

D.C.-based Windian Records spent the fall releasing six albums from its geographically diverse roster. The self-titled debut from Milwaukee's White Face's upholds the exuberant positivity of their label boss' Capslocked Facebook musings. The band's garage pop rarely meanders beyond three minutes, and keeps the message warm and human. Sample lyric: "I like the way you smile when you're happy." Sunny Buzzcocks revivalism isn't new ground, but the Faces' well-crafted songs make it enjoyable again.

3. More Humans– Demon Station EP

Cricket Cemetery's budding reputation as a trusted partner in hardcore is well-deserved, as the local outfit released three heavy records in ‘11. Demon Station’s five songs are an unexpected and ambitious departure. Elegant tracks like “Dracula” recall the Zombies with more aggressive and intricate percussion (and without the organ). The driving emo of “Mason-Dixon” is led by those gorgeous, almost aristocratic indie vocal arrangements that make you think of Rough Trade Records. “Icicles” big-ups the ‘70s radio rock you hear in snippets during infomercials about ballad compilations. More Humans’ influences and complementary pieces feel easy to cite, but their sparkplug songwriting prevails.

2. The Cornel West Theory – The Shape of Hip-Hop To Come

I spent some time profiling D.C.’s most complex hip-hop collective a few months back and the comments took the feature to task for not spending much time working in the new album’s strengths and weaknesses. Fair enough. The thing goes hard. The beats are sick. The flows are on-point. The anger is focused and serious. In fact, Dr. Cornel West’s occasional, curating guest lectures are somewhat superfluous.

1. Typefighter – Fall Winter Fall

Hooray for the underdogs. If this were 2003, two spins on a MySpace page from desperate suits and these folky punks would have been signed to Island Def Jam, slapped on a Warped Tour alongside Story of the Year and Sugarcult, and ultimately suffered blacklist-level backlash from the message boards months after a sweet hook about high school love letters exposed them as over-privileged newbies.

In 2011, Typefighter’s band members are well-traveled, post-recession “indie rockers” that serve good eats at Sticky Rice, reach out to mom for guest vocals, and make sweetly optimistic, toe-tapping ballads. The kind Occupy D.C. protesters queue up into ear buds and dance around in circles to.

Fall Winter Fall is nostalgic in that it sounds like emo after the last good Jimmy Eat World album but before Taking Back Sunday broke up (for the first time). “Frank Sinatra” works in addictive hand-claps. “Eyes & Ears” is dutifully simple. “Eggs” is pretty damn twee, but it gets a pass for its catchy banjo. I don't think this is the bravest or more important local release, but real talk—could not stop putting these six songs on playlists since the they dropped in March.

Hume, "Inverse Fireworks" ("Inverse Fireworks" single)
The psych-inflected pop of this early 2011 track sounds miles away from the infinitely spaced-out Hume of late 2011, but its relative restraint makes the song all the more memorable.

Meredith Bragg, "Birds of North America" (Nest)
The haunting folk of Meredith Bragg doesn’t really belong alongside the more Americana-focused singer-songwriters in the area, even though that's often who he shares bills with. The ever-persevering troubadour traffics in quiet subtleties, and the slight changes in timbre and instrumentation throughout "Birds of North America" reinforce a simple, repeated melody without becoming stale.

Oddisee, "Skipping Rocks" (Rock Creek Park)
With the kind of beats hip-hop heads dream about, this mostly instrumental record is like hearing the ‘90s in soft focus. Oddisee seamlessly blends live instruments with choice, ‘70s-style samples, and the result is a soundtrack to your favorite summer memory.

More Humans, "Mason-Dixon" (Demon Station)
The harmony-laden post-punk of More Humans’ Demon Station was one of the year’s more pleasant surprises. This track somehow feels both breezy and urgent, showcasing both craft and accessibility.

Mason-Dixon by More Humans from NIGHTTIDE on Vimeo.

The Caribbean, "Mr. Let’s Find Out" (Discontinued Perfume)
One of the densest, strangest pop releases of the year (can you really call it pop?), The Carribbean’s Discontinued Perfume continues to occupy a strange, dark corner of my record collection. The hooks in "Mr. Let’s Find Out" aren’t especially obvious, but its texture-driven, stream-of-consciousness melody quietly refuses to leave.

yU, "If U Down" (the EARN)
I may be a bit late to the Diamond District’s party, but this yU record has me stoked about whatever those three put out next. Smart, effortless delivery, conscious lyrics that aren't pedantic, and warm, understated beats.

Deleted Scenes, "Bedbedbedbedbed" (Young People’s Church of Air)
This song is inescapable. While the live version packs more punch, the recent single off the effects-drenched Young People’s Church of Air softly plants itself in your skull for the rest of eternity.

Deleted Scenes "Bedbedbedbedbed" from Stephanie Wuertz on Vimeo.

Poor But Sexy,  "Fool Runnin’" (Let’s Move In Together)
Despite featuring familiar guitar work by ex-Dismemberment Plan guitarist Jason Caddell, Poor But Sexy doesn’t quite fit into any particular D.C. scene...which is fine by me. Their funkiness recalls the golden days of yacht rock, and while their frank, straightforward relationship lyrics are somehow startling, they’re also weirdly bold and endearing. Oh, and the sample that kicks off this tune is totally Plan-worthy.

SPRCSS, "Ours is Expanding Light" (05/2010)
The primal urgency of SPRCSS, replete with constant 16th notes, creates a constant forward motion. On “Ours Is Expanding Light,” an extended, slow build leads to a cathartic release that somehow feels longer than its mere four and a half minutes. In a good way.

Joe Lally, "What Makes You" (Why Should I Get Used To It)
Three records deep into his post-Fugazi career, Joe Lally displays fresh confidence with “What Makes You.” It’s a mid-tempo rocker with an expectedly groovy bassline, and Lally’s understated vocal delivery adds heft to the song's sultry attack.

For the second year in a row, I voted in WKYS's list of the hottest local rappers. (So far, Nos. 3-10 have been unveiled.) It's nice to see acts like Gods'Illa and X.O. get some shine, but I'm still trying to sort out how M.C.-producer Oddisee tied for10th (?!?!?) on the list.

In 2012, expect to hear new albums from Substantial, RDGLDGRN (formerly The Five One), and Lyriciss. Until then, here are the 2011 projects that kept my finger on the rewind button and my stereo volume at max level.

5. Soulful!, Mumbo Sauce & Drumbreaks

Hip-hop embracing the sounds of blaxploitation never sounded so good. Released in January, Soulful!'s expansive concept album combined brassy '70s compositions with finely-chopped cosmic grooves, resulting in an energetic opus driven by its layered production. On Mumbo Sauce, Soulful!'s music held its own; the guest MCs were pure frosting.

4. Maimouna Youssef, The Blooming

From the bayou blues stomp of "Black Magic Woman" to the volcanic unrest of "Wake Up," The Blooming was a dynamic debut album for the former Roots collaborator, as these songs—each one very different in scope and sound—blended together for a thoughtful look into love ("I Got A Man"), overseas romance ("O Encontro No Brasil"), and phony rappers ("You Ain't Hard"). Youssef has come a long way since singing background at Dave Chappelle's Block Party.

3. Oddisee—Rock Creek Park

We're still awaiting his proper solo debut and the follow-up to Diamond District's In The Ruff, but producer Oddisee released Rock Creek Park in September, a mostly instrumental project of nostalgic soul renderings that paid homage to the D.C. park and provided a glimpse into the composer's artistic trajectory. Rock Creek was lush and layered, and stood tall without vocals. Quite the feat for an instrumental project.

2. yU, The EARN

As if his debut album weren't great enough, yU's sophomore release exceeded 2010's Before Taxes and solidified yU's place as the "humble king" of the local rap scene. Hard work and self-actualization were the central themes of this electro-soul offering, as the Diamond District M.C. reflected upon his childhood ("Time Machine"), exorcised personal pain ("If U Down"), and chastised capitalist excess ("Money"). As a man, yU is low-key and relatively unassuming. As a rapper, he's the total opposite, controlling the microphone with remarkable maturity.

1. Gods'Illa, CPR: The Blend Tape

Simply put, Gods'Illa's Blend Tape changed the landscape for local mixtapes, making it unacceptable for DMV rappers to litter their projects with throwaway songs and radio singles. Instead, the Forestville trio proved that free music doesn't have to sound cheap, and that insightful lyrics don't need to be preachy. From beginning to end, the Blend Tape is chock-full of quotable one-liners and neck-breaking production, resulting in the same gritty feel as the aforementioned In The Ruff album. And while neo-soul superstar Erykah Badu hosted the Blend Tape, she eventually faded into the background as Gods'Illa's assertive wordplay took center stage. The group made major moves this year and show no signs of slowing down.

COMEDY

Marc Maron claims to hold the record for the most guest appearances by a stand-up comic over the 16-year duration of Late Night with Conan O’Brien: forty-four—but I don’t remember seeing him on the show, or ever noticing him during the decade-plus he’s been turning up on Comedy Central and Air America radio. I found out about Maron because in the two years since he started his twice-weekly podcast, it’s been endorsed by notable voices from Ira Glass to the Slate Culture Gabfest crew. Maron’s show is remarkable for the depth and candor of his conversations with fellow comics. Episodes regularly run as along as an hour-and-a-half; I’ve learned to skip the stream-of-consciousness soliloquies that often compose the first 10-15 minutes and go straight to the interview. His recent show with Chris Rock was extraordinary: Rock reflects on his career-long struggle to avoid being pigeonholed as a black comic, and exhibits an expansive knowledge of stand-up comedians going back decades before his own birth. In the show’s 200th episode, posted back in August, comedian Mike Birbiglia took over as host while Maron played the guest. Birbiglia asked his own questions as well as those submitted by other comics, while Maron showed the same willingness to bare his soul on intimate subjects—the failure of his two marriages, for example—that he regularly inspires in his interview subjects. Maron performs at 9:55 p.m. Friday and 7:30 p.m. and 9:55 p.m. Saturday at the Arlington Cinema & Drafthouse. $22. (Chris Klimek)

Stand-up comedy and writing aren’t Steve-O’s specialties, at least not yet. One of the only likable fellows in the Jackasscrew has recently published a book, Professional Idiot: A Memoir. Tellingly, he’s also scaled back on the self-inflicted violence in his stage act. But Steve-O—born Stephen Gilchrist Glover—was always a little different from the other members of the Jackass family. For one, he rarely operated out of cruelty. Unlike his cohort Bam Margera, who made a career out of punishing his parents for God knows what, Glover mostly tortured himself. And now the former human rag doll, sober since 2008, has grown into yet another relatively humorous celebrity trying his hand in a new field—though he’s still willing to do almost anything in the name of entertainment. (Take his recent performance at the Comedy Central Charlie Sheen roast, where he broke his nose on Mike Tyson’s fist.) But if you’re not sold on the performer, consider that at least one of his local appearances this weekend is for a good cause: Today at Busboys & Poets, Steve-O signs copies of his memoir at a fundraiser for The Kindness Collective, a group that helps find safe homes for domestic abuse survivors and their pets. Steve-O signs copies of his memoir at 1 p.m. Saturday at Busboys & Poets. $8 suggested donation. He also performs Dec. 1 to Dec. 4 at DC Improv. $25-$27. (Brandon Wetherbee)

MUSIC

Friday: WCP contributor Steve Kiviat suggests you see either Niger's Bombino or the pan-global Nettle. All the art-rock nerds I know (except me) seem to be going to The Psychic Paramount at American University. Matthew Hemerlein and Old Tapes have a mysterious show at Montserrat House. And it's Will Eastman's birthday at UHall.

Saturday: L.A. ambient-glitch-hop producer Baths is at Black Cat. Locals Pree—whose new LP is really great, and we should've reviewed it—and Paperhaus are at Red Palace. Local Afropop pasticheurs Chopteeth and local Tropicalia pasticheurs Alma Tropicalia are at UHall.

Sunday: Oddisee, obviously.

THEATER

Word is Krapp's Last Tape, starring John Hurt at Shakespeare Theatre Company, is worth your time. Check back here today for Chris Klimek's review.

After the documentary Grey Gardens came out in the 1970s, "Little" Edie Beale, one of the two fading socialites depicted in the film, decided to take another stab at the "fame" that had eluded her as a young woman. She put together a mess of a cabaret that was originally almost two hours long, and performed the show at New York City's Reno Sweeney for a week-long run in 1978. It was a notorious train wreck.

Three decades later, actor Jeffrey Johnson has put together a more compact version of Edie's cabaret. He first staged the show in D.C. in 2009 before taking his cross-dressing talents to New York City and Los Angeles. Now, after a year's hiatus from the show, Johnson is back and beturbaned. Johnson will be performing "Little Edie Beale's Cabaret" at Black Fox Lounge this Friday and Saturday at 8 p.m. $10. (Stephanie Meyer)

FILM

Tricia Olszewski says skip Shame, but that The Other F Word has redeemable moments.

BOOKS

Hey, all you under-30somethings! True story: There was a time when the Washington Redskins weren't NFL doormats! No, really! Longtime Washington Times sportswriter David Elfin exploits the good ol' days of the franchise with Washington Redskins: The Complete Illustrated History. It's sad and telling that none of the many names and events included in the publisher's description of Elfin's book came from the Dan Snyder era. Elfin got one of the most glorified Skins, Art Monk, to write the foreword, and #81 will sit alongside him Saturday signing copies of the book. As he signs yours, console Monk for having Roy Helu break his longstanding single game record for catches in another of 2011's meaningless losses. 3 p.m. at Barnes & Noble Rockville. Free. (Dave McKenna)

On his new album out today, Jon Laine says he wanted the same thing. GIANT finds the Northern Virginia drummer taking center stage over a formidable collection of local hip-hop elite, including X.O., Kev Brown, Oddisee and Kaimbr, among many others. "I just wanted the best of the best," Laine says of his new album. "I wanted the top MCs, and singers that people know and don't know. I wanted the beats to hit you in the face."

Maybe that's why certain songs, especially those with notable guests, are mixed louder than those with lesser known talent. On "gimmeSomethin'," for instance, the track is a riotous mixture of strident boom bap and record scratches, and I could barely hear Oddisee's and Heron Gibran's vocals. "Kragenoff," and the unrelenting funk of its instrumental, takes precedence over rappers Kev Brown and Ken Starr.

Elsewhere, "soitGoes," featuring singer Danielle Wertz, is much quieter and allows her to shine through the electro-soul sound. "connected," with its overwhelming West Coast vibe, is given an East Coast kick with a decent showing from rapper E Major. Overall, GIANT stands firm as an atmospheric collection of hip-hop, R & B, and dusty soul rhythms, a culmination for Laine as a multidimensional effort with plenty of Chocolate City soul.

Go here to purchase the album.

Sad Trombone: The DC Youth Orchestra was not in stupendous shape when Ava Spece took over as executive director in 2004. But for the last seven years, the 501(c)(3) education program has been solvent, and relations with DCPS have improved significantly. Last year the program celebrated its 50th anniversary and settled into a new facility. So parents are probably crestfallen that Spece has announced her resignation from the DC Youth Orchestra, effective January 2012.

New Face in Town: Meet Adams Morgan's newest mural.

Yesterday on Arts Desk: Our arts section opens this week with John Anderson's story about the end of silver gelatin reproductions at the Library of Congress.

Just when that statement was recorded is a mystery. For whatever reason, the D.C. trio of D.P., Black Picasso, and DJ Stylus recorded this full-length project and never released it. Instead, the group dropped The Solitaire Mixtape: Everything You've Never Wanted last September and kept this album on the shelf. Until now.

"A lot has changed between when we first started working on it and today, so there's really no reason to sit on it anymore," Stylus wrote in an email announcing the album's release. "Go free, formerly imprisoned album!"

The recently released album—although the group's Bandcamp displays an Oct. 23 release date—is full of original music, with appearances from an impressive roster of local names: The record has chorus work from Raheem DeVaughn and Tamara Wellons, scratchy break beats from Kokayi and Oddisee, and inspired verses from Asheru and Priest Da Nomad, among others.

Don't expect any glossy production or overly simplistic rhymes on this project. Poem-cees, once a staple of the State of the Union bar before it closed, are a throwback to the '90s "rappity-rap" era of hip-hop, opting for complicated rhyme patterns over a lively soundtrack. It may not go over so well with the younger, skinny-jeans crowd, but the album will surely please rap fans who are a bit more nostalgic.

Everything You've Always Wanted is available for free. Or you can listen to the album below.