Last winter, the pop and R&B world was rocked when fan favorite Rihanna failed to make her scheduled appearance at the 2009 Grammy awards. Her absence was due to an incident that occured the night prior, when she was beaten by boyfriend Chris Brown. The paparazzi and press jumped on the story, and on her, and not only published the photos of her bruised and cut face but followed her every move following her release from the hospital. In the weeks following the abuse, Rihanna spent time with Brown, which was also captured and published for mass consumption.
The press and blogosphere judged her quickly, the general sentiment being "How could she even think about spending time with someone who would hit her?". Pop stars aren't the only ones who deal with this kind of judgment. Conversations around domestic violence frequently include place an expectation on the abused partner that they can easily remove themselves from the situation. That it is easy to leave, especially if there are no financial barriers, as in the case of Rihanna and Brown. That if someone won't leave then they deserve it, or don't deserve support, or are just plain stupid.
As someone who has both been a survivor of domestic violence and has worked in the field, I can tell you: it isn't that easy. The shock that someone you love, and who loves you, would harm you is overwhelming. Someone's palm on your face doesn't erase the good memories, or the positive parts of their personality. It doesn't eliminate your relationship or friendship. And if that person is your main source of emotional support....it gets so much harder. There is an impluse to try and make it work out, if only to show those around you that you weren't stupid enough to fall in love with an abuser. And to prove to yourself that you were right in seeing good things in them - that you aren't such an idiot as to give your heart to a monster.
This aspect of abuse, though, is rarely discussed. We expect abuse survivors to have the emotional strength of a herd of clysdales and to be able to cut off all contact with their abuser, to leave them in the dust, as soon as the first hit lands. It would be great it if were that easy, as that is the only way that the abuse cycle will end. As with most things, reality is so much more difficult.
Now that the dust has settled from the press bonanaza that occured this weekend, Rihanna has come out with a new album addressing issues around abuse that are usually kept in the dark. This blog is not intended for lauding the mainstream - commercial music gets enough press as it is - but I was so struck by her new record, and her bravery in addressing the more complicated issues that survivors face, that I had to write about it. Embedded below is a track off her new record, R Rated, "Stupid in Love". A warning to survivors - the song may trigger flashbacks or strong emotions.
Showing posts with label reviews. Show all posts
Showing posts with label reviews. Show all posts
Sunday, December 6, 2009
Tuesday, October 27, 2009
Beth Ditto, Punk Princess
Earlier this month, Jenny and I spent a chilly Friday night at Metro Chicago, seeing The Gossip'se first Chicago show in years. Since they last played the Windy City, the Gossip has exploded, becoming a huge sensation in Europe and released their latest album, Music for Men, on major label Sony Records. The lead singer, Beth Ditto, has become a celebrity all to herself. Known for her feminist ethics and activism around queer and fat rights, Ditto has become a somewhat unlikely muse for the fashion world. With her face plastered on magazines and her own clothing line, Ditto is much more a household name than she was three years ago.
With that in mind, we weren't sure what to expect when opening act MEN (featuring J.D. Sampson from LeTigre) finished and The Gossip took the stage. Their shows have traditionally been intimate, even when playing large venues, with Ditto interacting with the crowd and smashing the fourth wall between the band and the audience to pieces by the end of their first song. I was concerned that, with their major label status and rapidly rising climb to fame, The Gossip would present a more polished, removed and ultimately less satisfying show.
There was no need to worry. Playing a mix of their new songs and old favorites, including covers of "Rebel Girl" "Psycho Killer" and "What's Love Got To Do With It", The Gossip has stayed true to themselves. Ditto engaged the audience, even pulling a boy on stage who was from her hometown and stopping the show to talk to him. Their lyrics about broken hearts and queer pride are just as strong as ever, and she serves as a strong role model for self acceptance, pride in all regards and using music as a way to celebrate community. Even though the 1,000+ capacity club was nearly sold out, it felt like it was a show in a local civic center. The sound was great, despite Ditto being sick, but the real strength of the show was the interaction with the fans. Despite what cynics might say, punk and riot grrrl are not dead - at least not as long as Beth Ditto and The Gossip have anything to say about it.
With that in mind, we weren't sure what to expect when opening act MEN (featuring J.D. Sampson from LeTigre) finished and The Gossip took the stage. Their shows have traditionally been intimate, even when playing large venues, with Ditto interacting with the crowd and smashing the fourth wall between the band and the audience to pieces by the end of their first song. I was concerned that, with their major label status and rapidly rising climb to fame, The Gossip would present a more polished, removed and ultimately less satisfying show.
There was no need to worry. Playing a mix of their new songs and old favorites, including covers of "Rebel Girl" "Psycho Killer" and "What's Love Got To Do With It", The Gossip has stayed true to themselves. Ditto engaged the audience, even pulling a boy on stage who was from her hometown and stopping the show to talk to him. Their lyrics about broken hearts and queer pride are just as strong as ever, and she serves as a strong role model for self acceptance, pride in all regards and using music as a way to celebrate community. Even though the 1,000+ capacity club was nearly sold out, it felt like it was a show in a local civic center. The sound was great, despite Ditto being sick, but the real strength of the show was the interaction with the fans. Despite what cynics might say, punk and riot grrrl are not dead - at least not as long as Beth Ditto and The Gossip have anything to say about it.
Wednesday, June 3, 2009
St. Vincent - Neither A Saint, Nor Named Vincent, Just Great Music
My favorite album of the spring is Actor
, by St. Vincent, a new-ish musical group that I just happened to come across about a month ago. St. Vincent is actually the stage name for Annie Clark, a sometimes member of the Polyphonic Spree and Sufjan Steven's touring band. She released her debut album in 2007, Marry Me
, to fairly rave reviews from critics as diverse as Pitchfork and the New York Times. Now, as she returns with Actor, her star continues to shine. With, one assumes, influences from touring pals Sufjan and the Polyphonic Spree, as well as the darker sounds of her own imagination, St. Vincent is back with another winner. After playing her album several times through on a recent road trip, I've concluded that this is an artist who has true songwriting diversity, and staying power... her songs are sometimes light and airy, boardering on Spree-like uplifting sounds, while others are weirder, orchestral, cinematic. Simply put, this lady can write a song, not to mention sing them, and if she keeps it up, this is just the beginning. St. Vincent will play an all ages show this Sunday, June 6 at Metro, so if you want to see the woman behind the music, don't miss it!
Wednesday, February 18, 2009
Book Review: Getting Off
When I heard that Robert Jensen was speaking at my campus, I decided to finally read his book, Getting Off. I had heard mixed things about it, but the premise - a self-defined feminist man's take on pornography - sounded like it could have potential. Instead, Jensen has re-packaged classic anti-pornography arguments in a text that adds little to the conversation, and does many of the things he claims he is trying to prevent.
Jensen's main thesis is this: heterosexual, industrial pornography, largely in the United States, is becoming more violent in terms of the sex acts performed on women, which leads to the objectifiaction, degredation and abuse of women. This argument is essentially everything Andrea Dworkin ever said or wrote, and while he gives her some credit, the bulk of his book is comprised of her theories stated in a male voice. The idea that women in the United States are objectified, discriminated against and harmed in astonishing numbers is not radical, or something I disagree with. I don't even disagree with Jensen on the point that pornographic movies are becoming more degrading and that watching them could, potentially, desensitize men to seeing women as, you know, people. That said, I found his book to be borderline misogynist, unclear on its points and all around a bad read. Here's why:
First, Jensen believes that he has the unique ability to enlighten women about sexism. In one of the opening chapters, he discusses having female friends who stated to him that they use pornography themselves and don't find it all to be offensive. In response to this, Jensen describes one of the films he has seen, one which he claims is "tame" (but, in my assessment, is not tame by industry standards), to which his friend reponds "That wasn't fair." About this, Jensen writes "....it wasn't fair to push it...if I were a woman, I wouldn't want to know that. Life is difficult enough without knowing things like that...[that] you are something to be fucked and laughed at and left on the side of the road by men. Because you are a woman...Pornography forces women to face up to how men see them (pg. 15)."
He writes this as if being seen as an object is news to women and his graphic description of pornography is the only reality check his female friends, or women in general, will get about it. That we are in the dark about sexism and if we just ignore porn, we can ignore our frequent status as second class citizens. Because surely the cat calls from men on the street, requests from judges that female attorneys wear skirts to court, and "ladies nights" at bars didn't give us a hint at all. To summarize: according to Jensen, women cannot genuinely enjoy consuming pornography or even have an opinion on it that deviates from his. Women who do state things contrary to his beliefs are only saying such because they do not want to "face" sexism. Got it. Check.
Second, Jensen uses his status as a "feminist" to also become a psychic and to speak for all women. Getting Off is noticeably without much commentary from women involved in the industry. I can only assume that this is because the book is intended to focus on men and their involvment. When Jensen does speak of female performers (there is next to no mention of female directors or producers), every quote is bookended with a statement similar to this one "When pornography performers speak in public they typically repeat a standard script that emphasizes tha they have freely chosen this career....[a performer stated her career was chosen....as an exploration in sexuality] this framing of participation as a feminist act of women taking control of their own lives is common....whatever the reality of [their] description of [their] own life (pg.122)" and a claim that he respects what these women are saying and they have the right to their opinion.
After his disclaimer, he will launch into an anaylsis of their quote, or flim clip, or even just facial expression, always coming to the conclusion that they are not telling the truth and that if they were to be alone with a feminist like him, the real story would come out. Jensen's degrees in media and journalism have, apparently, also given him the ability to discern the real meaning behind women's statements and to attach his own interpretation to them as the Truth. It was disturbing to read in a book that is proclaiming that all women have the right to say "no" that we do not have the right to say "yes". Afraid to sound like the misgynists that he so loathes, Jensen gives lip service to women being able to have their "opinions" and then launches right back into his real meaning: women cannot think for themselves, and need an educated male to tell them what they are really experiencing and how to be an appropriate feminist. Your "yes" doesn't count in the academy just like your "no" doesn't count in the bedroom.
Finally, the book is just plain poorly written. The tone of the book is smug and self-congratulatory, with anecdotes mixed in about his "weeping" over the destruction of women and his bravery in standing up to a man he felt was inappropriate because the man's girlfriend wasn't saying anything (once again, needing to be the voice for a woman). His chapter on casual sex as another tool of the destruction of women is simplistic and heterosexist, as is his call to feminists to stop using pornography entirely. The start and finish of the book, where he depicts men at the Adult Entertainment Expo as being either a mob of rapists or pathetic fools, is histrionic and essentialist.
Men's voices are certainly needed in the feminist and anti-violence movement. Most of the perpetrators of violence against women are men, so they need to a) stop hurting us and b) tell their friends to cut it out, too. What we don't need, however, is another man telling us what we think, how we should behave or how to be a feminist.
Jensen's main thesis is this: heterosexual, industrial pornography, largely in the United States, is becoming more violent in terms of the sex acts performed on women, which leads to the objectifiaction, degredation and abuse of women. This argument is essentially everything Andrea Dworkin ever said or wrote, and while he gives her some credit, the bulk of his book is comprised of her theories stated in a male voice. The idea that women in the United States are objectified, discriminated against and harmed in astonishing numbers is not radical, or something I disagree with. I don't even disagree with Jensen on the point that pornographic movies are becoming more degrading and that watching them could, potentially, desensitize men to seeing women as, you know, people. That said, I found his book to be borderline misogynist, unclear on its points and all around a bad read. Here's why:
First, Jensen believes that he has the unique ability to enlighten women about sexism. In one of the opening chapters, he discusses having female friends who stated to him that they use pornography themselves and don't find it all to be offensive. In response to this, Jensen describes one of the films he has seen, one which he claims is "tame" (but, in my assessment, is not tame by industry standards), to which his friend reponds "That wasn't fair." About this, Jensen writes "....it wasn't fair to push it...if I were a woman, I wouldn't want to know that. Life is difficult enough without knowing things like that...[that] you are something to be fucked and laughed at and left on the side of the road by men. Because you are a woman...Pornography forces women to face up to how men see them (pg. 15)."
He writes this as if being seen as an object is news to women and his graphic description of pornography is the only reality check his female friends, or women in general, will get about it. That we are in the dark about sexism and if we just ignore porn, we can ignore our frequent status as second class citizens. Because surely the cat calls from men on the street, requests from judges that female attorneys wear skirts to court, and "ladies nights" at bars didn't give us a hint at all. To summarize: according to Jensen, women cannot genuinely enjoy consuming pornography or even have an opinion on it that deviates from his. Women who do state things contrary to his beliefs are only saying such because they do not want to "face" sexism. Got it. Check.
Second, Jensen uses his status as a "feminist" to also become a psychic and to speak for all women. Getting Off is noticeably without much commentary from women involved in the industry. I can only assume that this is because the book is intended to focus on men and their involvment. When Jensen does speak of female performers (there is next to no mention of female directors or producers), every quote is bookended with a statement similar to this one "When pornography performers speak in public they typically repeat a standard script that emphasizes tha they have freely chosen this career....[a performer stated her career was chosen....as an exploration in sexuality] this framing of participation as a feminist act of women taking control of their own lives is common....whatever the reality of [their] description of [their] own life (pg.122)" and a claim that he respects what these women are saying and they have the right to their opinion.
After his disclaimer, he will launch into an anaylsis of their quote, or flim clip, or even just facial expression, always coming to the conclusion that they are not telling the truth and that if they were to be alone with a feminist like him, the real story would come out. Jensen's degrees in media and journalism have, apparently, also given him the ability to discern the real meaning behind women's statements and to attach his own interpretation to them as the Truth. It was disturbing to read in a book that is proclaiming that all women have the right to say "no" that we do not have the right to say "yes". Afraid to sound like the misgynists that he so loathes, Jensen gives lip service to women being able to have their "opinions" and then launches right back into his real meaning: women cannot think for themselves, and need an educated male to tell them what they are really experiencing and how to be an appropriate feminist. Your "yes" doesn't count in the academy just like your "no" doesn't count in the bedroom.
Finally, the book is just plain poorly written. The tone of the book is smug and self-congratulatory, with anecdotes mixed in about his "weeping" over the destruction of women and his bravery in standing up to a man he felt was inappropriate because the man's girlfriend wasn't saying anything (once again, needing to be the voice for a woman). His chapter on casual sex as another tool of the destruction of women is simplistic and heterosexist, as is his call to feminists to stop using pornography entirely. The start and finish of the book, where he depicts men at the Adult Entertainment Expo as being either a mob of rapists or pathetic fools, is histrionic and essentialist.
Men's voices are certainly needed in the feminist and anti-violence movement. Most of the perpetrators of violence against women are men, so they need to a) stop hurting us and b) tell their friends to cut it out, too. What we don't need, however, is another man telling us what we think, how we should behave or how to be a feminist.
Sunday, October 19, 2008
It Isn't a Lady Jam....
.....but it is a jam that a lady likes. The new Ben Folds album, Way to Normal, is really, really good. It is clever. It is poppy. It has a song that references the astronaut/diaper incident.
I have only one complaint - there's a song called the "Bitch Went Nuts". Really? You had to go there, Ben Folds? There is just something about a man saying that word with that kind of intent that makes my skin crawl. He spent a month recording with Amanda Palmer....you would think he would know better.
Choice cuts:
"The Frown Song"
"Cologne"
"You Don't Know Me (Feat. Regina Spektor)"
Here is the the video for "You Don't Know Me". Enjoy!
I have only one complaint - there's a song called the "Bitch Went Nuts". Really? You had to go there, Ben Folds? There is just something about a man saying that word with that kind of intent that makes my skin crawl. He spent a month recording with Amanda Palmer....you would think he would know better.
Choice cuts:
"The Frown Song"
"Cologne"
"You Don't Know Me (Feat. Regina Spektor)"
Here is the the video for "You Don't Know Me". Enjoy!
Saturday, August 16, 2008
Love, Fangirl, Age 27
Last Friday, I had the opportunity to check out Amanda Palmer's (singer/pianist for the Dresden Dolls) solo show at the Lakeshore Theater. Not only was her set great, but all three of the openers were, too.
Emilyn Brodsky defines herself as "cupcake punk" and I can't agree more. Armed with a ukelele and a great set of pipes, her set brought to mind Kimya Dawson.....if Kimya was really ticked off. Her songs are witty and confessional - songs that you'd like to have a beer with at the dive bar. Good stuff.
Next was Chicago native Anna Vogelzang. Anna has a big voice and a knack for storytelling. My concert mate leaned over and said "reminds me of Ingrid Michaelson.....her good stuff" and it is true - Anna does have a similar sound and feel to the sweater song girl.
Wrapping up the openers was Vermillion Lies, a pair of ladies from California with rosy cheeks, an accordian and a stage presence that grabs you and doesn't want to let go. Their songs are burlesque-y and clever, including one about recieving an organ transplant. And they had a tap dancing marionette! They were a real treat and, as much as I love Amanda Palmer, I was sort of sad when their set ended.
On to Amanda's set:
I was really spoiled by her show at the Boston Symphony earlier this summer, but this show did not dissapoint. It was a fair mix of Dolls material, covers and songs from her new album, Who Killed Amanda Palmer?, due out on September 16. The new songs? Killer. Pun intended. Ben Folds produced it and you can hear his influence in songs like "Ampersand" and "Astronaut" - beautiful piano ballads that are the kind of luxurious songs Folds is known for. There are definitly some signature Palmer songs, though, with choppy, hand slamming chords, like the heavily staccato "Runs in the Family" and the eerie "Tick Tick", a song written after the Columbine shootings.
When playing with the Dolls, Amanda is always friendly with the crowd but is even more so in her solo shows. There was a lot of interaction, including a Q and A portion and a final encore of Radiohead's "Creep", which she played on the ukelele while wandering through the crowd.
After the show, she did a signing, and I had the opportunity to meet her. Let me tell you - I lost my cool. At 27, I am still apparently able to morph into a 12 year old girl. My mouth ran and I wasn't able to stop it, but she was incredibly gracious. And beautiful. And funny. Sigh.
Along with the album, she and Doll's long time video producer Michael Pope are creating a series of videos to go along with the songs. Here's the one for "Astronaut". Enjoy!
Emilyn Brodsky defines herself as "cupcake punk" and I can't agree more. Armed with a ukelele and a great set of pipes, her set brought to mind Kimya Dawson.....if Kimya was really ticked off. Her songs are witty and confessional - songs that you'd like to have a beer with at the dive bar. Good stuff.
Next was Chicago native Anna Vogelzang. Anna has a big voice and a knack for storytelling. My concert mate leaned over and said "reminds me of Ingrid Michaelson.....her good stuff" and it is true - Anna does have a similar sound and feel to the sweater song girl.
Wrapping up the openers was Vermillion Lies, a pair of ladies from California with rosy cheeks, an accordian and a stage presence that grabs you and doesn't want to let go. Their songs are burlesque-y and clever, including one about recieving an organ transplant. And they had a tap dancing marionette! They were a real treat and, as much as I love Amanda Palmer, I was sort of sad when their set ended.
On to Amanda's set:
I was really spoiled by her show at the Boston Symphony earlier this summer, but this show did not dissapoint. It was a fair mix of Dolls material, covers and songs from her new album, Who Killed Amanda Palmer?, due out on September 16. The new songs? Killer. Pun intended. Ben Folds produced it and you can hear his influence in songs like "Ampersand" and "Astronaut" - beautiful piano ballads that are the kind of luxurious songs Folds is known for. There are definitly some signature Palmer songs, though, with choppy, hand slamming chords, like the heavily staccato "Runs in the Family" and the eerie "Tick Tick", a song written after the Columbine shootings.
When playing with the Dolls, Amanda is always friendly with the crowd but is even more so in her solo shows. There was a lot of interaction, including a Q and A portion and a final encore of Radiohead's "Creep", which she played on the ukelele while wandering through the crowd.
After the show, she did a signing, and I had the opportunity to meet her. Let me tell you - I lost my cool. At 27, I am still apparently able to morph into a 12 year old girl. My mouth ran and I wasn't able to stop it, but she was incredibly gracious. And beautiful. And funny. Sigh.
Along with the album, she and Doll's long time video producer Michael Pope are creating a series of videos to go along with the songs. Here's the one for "Astronaut". Enjoy!
Thursday, July 24, 2008
Pitchfork Festival: Where My Ladies At?
I loved Pitchfork Music Festival last weekend. I had a grand time. I think Pitchfork Festival is one of the best things to happen to Chicago in general, and Chicago's music scene specifically, in a very long time. Kudos to you, Pitchfork peeps, kudos to you.
That said, where my ladies at? This year's lineup was sorely missing in women on stage - with the exception of the woman in !!!, I don't think I saw a woman on stage the entire weekend. (Granted, I did miss some of the bands that played earlier in the day on Saturday and Sunday.) I understand there are scheduling problems, and not all bands are on tour, and some might be playing that other festival, but c'mon, you couldn't find just a few more ladies?
So, Pitchfork, I put together a list of ten women/bands I think you should consider for next year. In no particular order...
Breeders - They put on an amazing show at Metro this fall, and we'd love to see them outside in the sunshine.
Erykah Badu - Her new album New Amerykah Part One: 4th World War was named by your own website as one of the most overlooked records this year.
Patti Smith - She'd fulfill the "rock n roll heritage" spot in the lineup, and you seemed to like her latest album. Plus, we know she's played outdoor music festivals before.
Mirah - She did a whole album about insects. She's got to be a little nuts, which is always fun live.
Joan Jett - A few years back, the ladies of WOW got a chance to see Joan Jett perform live, and we were all blown away. She'd bring the punk.
Sally Shapiro - You love her, she's never performed live - how cool would it be if she debuted at the festival?
The Go! Team - Hey, you're the ones who said this is the kind of music that plays big on stage, so bring it to us!
The Pipettes - You can't see these ladies live without singing along, and you already love their album.
The Prototypes - People at this festival would love them. I saw three of their shirts this weekend. I know you'd have to bring them all the way from France, but I think it would be worth it.
Kate Havnevik - She's Norweigan, she owns a record label, her voice is haunting and sometimes creepy. What's not to like?
That said, where my ladies at? This year's lineup was sorely missing in women on stage - with the exception of the woman in !!!, I don't think I saw a woman on stage the entire weekend. (Granted, I did miss some of the bands that played earlier in the day on Saturday and Sunday.) I understand there are scheduling problems, and not all bands are on tour, and some might be playing that other festival, but c'mon, you couldn't find just a few more ladies?
So, Pitchfork, I put together a list of ten women/bands I think you should consider for next year. In no particular order...
Breeders - They put on an amazing show at Metro this fall, and we'd love to see them outside in the sunshine.
Erykah Badu - Her new album New Amerykah Part One: 4th World War was named by your own website as one of the most overlooked records this year.
Patti Smith - She'd fulfill the "rock n roll heritage" spot in the lineup, and you seemed to like her latest album. Plus, we know she's played outdoor music festivals before.
Mirah - She did a whole album about insects. She's got to be a little nuts, which is always fun live.
Joan Jett - A few years back, the ladies of WOW got a chance to see Joan Jett perform live, and we were all blown away. She'd bring the punk.
Sally Shapiro - You love her, she's never performed live - how cool would it be if she debuted at the festival?
The Go! Team - Hey, you're the ones who said this is the kind of music that plays big on stage, so bring it to us!
The Pipettes - You can't see these ladies live without singing along, and you already love their album.
The Prototypes - People at this festival would love them. I saw three of their shirts this weekend. I know you'd have to bring them all the way from France, but I think it would be worth it.
Kate Havnevik - She's Norweigan, she owns a record label, her voice is haunting and sometimes creepy. What's not to like?
Sunday, June 22, 2008
Amanda's Wonderful World
The date: Friday, June 20, 2008.
The significance: the night I saw the best show I have ever seen to date.
The details:
After a very long bus ride from New York City to Boston, I arrived at the Boston Symphony Center to see Amanda Palmer of the Dresden Dolls perform with the Boston Pops. My date for the evening, L, called to alert me that there were a lot of "interesting characters" entering the building. Ms. Palmer had sent out a call to arms via MySpace, asking fans to come dressed to the hilt. Due to the bus ride taking several hours more than expected, I was stuck in my travel wear. L was right, though, - most of the Dolls fans were decked out in what I can only describe as gothic opera attire. Think: monacles, top hats, wedding gowns. It was reminiscent of attending Tori Amos shows in the mid 1990s. It felt as though Amanda had rented out the Center just for us, the fans; like we were on some sort of goth/punk school field trip.
The show:
The Boston Pops, conducted by the sparkling Keith Lockhart, opened with selections from Holst's The Planets. It was the perfect warm up before we all got our socks rocked off. Most of the show was Amanda backed by the Pops, with extra players added for certain numbers.
Her set:
1) Missed Me
Amanda came in from the side door, dressed in a lavender corset, black bra and silvery-grey bolero jacket with a ruffled bustle. And, of course, thigh highs and a suspender belt. As she worked her way through the floor seating, she collected a fiddle player and tambourine player planted in the crowd who followed her as if she was some sort of dominatrix Pied Piper. Concluding the song on the stage, she settled herself on the piano bench and whipped off her bolero (Lockhart followed suit, whipping off his suit jacket). The crowd was rapt and in the palm of her hands.
2) Astronaut-
This is a new song off of her solo album, Who Killed Amanda Palmer?, which is set for a September release. She played it at the Vic in Chicago in January and it was great then. It sounds even more polished now and was beautiful with the Pops behind her.
3) Point of it All
Another new one. This song is simply gorgeous and Tom Waits-esque.
4) Just a Girl Who C'aint Say No
At this point, Amanda got up from the piano with a mic and walked to the front of the stage. The Pops began playing and L leaned over and said " I think this is from Annie Get Your Gun!!". She was right! This song is traditionally sung with a country twang on it, but Amanda put her own spin on it - speak-singing and making the song sound far dirtier than when it is perfomed as part of the musical. Even though the song isn't exactly in her range, it was neat to see her do something so unexpected. We couldn't wait to see what was next.
5) Brick
After sitting back down at the piano, Amanda told the auidence that Ben Folds produced her new album and that she had been encouraged to work with him after remembering that his band, Ben Folds Five, had a hit song in the 1990s about abortion. She then dedicated the song to him and to her friend Emily (tour manager?) and launched into a cover of the BFF hit "Brick". The song is about abortion from the male partner's perspective, so it was especially interesting to hear it done in a female voice.
6) School Shooting Song (title?)
Staying with the Ben Folds/depressing theme, she then did a song that she wrote about the Columbine school shooting right after it happened in 1999. She said that she was suprised that it had ended up on the album and that it was one of the tracks that Ben had chosen. During the song, actors with white face paint walked into the audience and collapsed. Of all of the new songs, this was my least favorite. It felt a little over the top.
7) Drive
I think this is another new track from her solo album, but it sounded very familiar. so it could be a b-side or an older Dolls' song. She had choir backing her on this song, including her father, which was a nice touch.
8) Coin Operated Boy
After a flourishing introduction that threw everyone off track, she launched into Coin Operated Boy - the crowd went wild! I imagine that several people were thinking the same thing I was "She's going to sing this very naughty song with the Boston Pops"? Alas, she played the radio edit version, which actually elicted some groans from the audience. The percussion on this piece was great, though - lots of toy sounds with a wide range of strange instruments.
9) What a Wonderful World
Amanda announced that this would be the last song but that she was "going to take us out in style". After singing the first few measures of "What a Wonderful World", a male voice came out over the speakers and Brian (her Dresden Doll other half) walked out on stage. There are two ways this song can be done: with an optimistic, genuine tone and with a cynical, "the world is going to hell in a handbasket" manner and they managed to do both all at once. Their energy was phenomenal. My mouth was open the entire time, tears running down my face, and most of the fans around me were in a similar state.
10) Don't Tell Mama (Encore)
An actor dressed as the MC from Cabaret came out on stage, and recited what I think was a blend of originial lines and lines from the show, bringing Amanda back on stage. Dressed now in a shimmery black dress, Amanda and a chorus of Kit Kat Girls from the Boston Conservatory launched into "Don't Tell Mama". I was impressed with the level of raunch that they unleashed on the audience - one of the Kit Kat girls really went to groping herself . If Amanda Palmer was born to play any role, it is Sally Bowles. She brought the house down.
11) Sing
Brian came out once again, this time with a guitar, and they did a quiet version of "Sing", without piano. This has never been a standout song for me, but that night it had a particular impact. All of the additional players came back on stage and, slowly, fans stood up to sing the backing vocals. As I stood up, the woman sitting two seats down from me did as well and we locked eyes - it was one of those moments where you look at another music lover and you both know that you are experiencing a show unlike any other. By the end of the song, half of the center was on its feet singing along about using song as a rebelliion, as a catharsis and as a celebration.
I've been going to live shows since summer of 1995, and this was the most intense, most magical and powerful show I've seen to date. I don't know if it was the song selection, the orchestration, or the beautiful space - probably some combination of all three. Amanda Palmer has an uncanny ability to control a room, to impart emotion on every single person in the audience, to hold us captive in her world. I can't wait to hear the new album and see her in Chicago in August.
Thank you, Amanda, for an unforgettable evening.
The significance: the night I saw the best show I have ever seen to date.
The details:
After a very long bus ride from New York City to Boston, I arrived at the Boston Symphony Center to see Amanda Palmer of the Dresden Dolls perform with the Boston Pops. My date for the evening, L, called to alert me that there were a lot of "interesting characters" entering the building. Ms. Palmer had sent out a call to arms via MySpace, asking fans to come dressed to the hilt. Due to the bus ride taking several hours more than expected, I was stuck in my travel wear. L was right, though, - most of the Dolls fans were decked out in what I can only describe as gothic opera attire. Think: monacles, top hats, wedding gowns. It was reminiscent of attending Tori Amos shows in the mid 1990s. It felt as though Amanda had rented out the Center just for us, the fans; like we were on some sort of goth/punk school field trip.
The show:
The Boston Pops, conducted by the sparkling Keith Lockhart, opened with selections from Holst's The Planets. It was the perfect warm up before we all got our socks rocked off. Most of the show was Amanda backed by the Pops, with extra players added for certain numbers.
Her set:
1) Missed Me
Amanda came in from the side door, dressed in a lavender corset, black bra and silvery-grey bolero jacket with a ruffled bustle. And, of course, thigh highs and a suspender belt. As she worked her way through the floor seating, she collected a fiddle player and tambourine player planted in the crowd who followed her as if she was some sort of dominatrix Pied Piper. Concluding the song on the stage, she settled herself on the piano bench and whipped off her bolero (Lockhart followed suit, whipping off his suit jacket). The crowd was rapt and in the palm of her hands.
2) Astronaut-
This is a new song off of her solo album, Who Killed Amanda Palmer?, which is set for a September release. She played it at the Vic in Chicago in January and it was great then. It sounds even more polished now and was beautiful with the Pops behind her.
3) Point of it All
Another new one. This song is simply gorgeous and Tom Waits-esque.
4) Just a Girl Who C'aint Say No
At this point, Amanda got up from the piano with a mic and walked to the front of the stage. The Pops began playing and L leaned over and said " I think this is from Annie Get Your Gun!!". She was right! This song is traditionally sung with a country twang on it, but Amanda put her own spin on it - speak-singing and making the song sound far dirtier than when it is perfomed as part of the musical. Even though the song isn't exactly in her range, it was neat to see her do something so unexpected. We couldn't wait to see what was next.
5) Brick
After sitting back down at the piano, Amanda told the auidence that Ben Folds produced her new album and that she had been encouraged to work with him after remembering that his band, Ben Folds Five, had a hit song in the 1990s about abortion. She then dedicated the song to him and to her friend Emily (tour manager?) and launched into a cover of the BFF hit "Brick". The song is about abortion from the male partner's perspective, so it was especially interesting to hear it done in a female voice.
6) School Shooting Song (title?)
Staying with the Ben Folds/depressing theme, she then did a song that she wrote about the Columbine school shooting right after it happened in 1999. She said that she was suprised that it had ended up on the album and that it was one of the tracks that Ben had chosen. During the song, actors with white face paint walked into the audience and collapsed. Of all of the new songs, this was my least favorite. It felt a little over the top.
7) Drive
I think this is another new track from her solo album, but it sounded very familiar. so it could be a b-side or an older Dolls' song. She had choir backing her on this song, including her father, which was a nice touch.
8) Coin Operated Boy
After a flourishing introduction that threw everyone off track, she launched into Coin Operated Boy - the crowd went wild! I imagine that several people were thinking the same thing I was "She's going to sing this very naughty song with the Boston Pops"? Alas, she played the radio edit version, which actually elicted some groans from the audience. The percussion on this piece was great, though - lots of toy sounds with a wide range of strange instruments.
9) What a Wonderful World
Amanda announced that this would be the last song but that she was "going to take us out in style". After singing the first few measures of "What a Wonderful World", a male voice came out over the speakers and Brian (her Dresden Doll other half) walked out on stage. There are two ways this song can be done: with an optimistic, genuine tone and with a cynical, "the world is going to hell in a handbasket" manner and they managed to do both all at once. Their energy was phenomenal. My mouth was open the entire time, tears running down my face, and most of the fans around me were in a similar state.
10) Don't Tell Mama (Encore)
An actor dressed as the MC from Cabaret came out on stage, and recited what I think was a blend of originial lines and lines from the show, bringing Amanda back on stage. Dressed now in a shimmery black dress, Amanda and a chorus of Kit Kat Girls from the Boston Conservatory launched into "Don't Tell Mama". I was impressed with the level of raunch that they unleashed on the audience - one of the Kit Kat girls really went to groping herself . If Amanda Palmer was born to play any role, it is Sally Bowles. She brought the house down.
11) Sing
Brian came out once again, this time with a guitar, and they did a quiet version of "Sing", without piano. This has never been a standout song for me, but that night it had a particular impact. All of the additional players came back on stage and, slowly, fans stood up to sing the backing vocals. As I stood up, the woman sitting two seats down from me did as well and we locked eyes - it was one of those moments where you look at another music lover and you both know that you are experiencing a show unlike any other. By the end of the song, half of the center was on its feet singing along about using song as a rebelliion, as a catharsis and as a celebration.
I've been going to live shows since summer of 1995, and this was the most intense, most magical and powerful show I've seen to date. I don't know if it was the song selection, the orchestration, or the beautiful space - probably some combination of all three. Amanda Palmer has an uncanny ability to control a room, to impart emotion on every single person in the audience, to hold us captive in her world. I can't wait to hear the new album and see her in Chicago in August.
Thank you, Amanda, for an unforgettable evening.
Tuesday, June 17, 2008
The Belly of the Beast
Last week I went into the belly of the hipster beast: I saw Death Cab for Cutie in Williamsburg, Brooklyn.
First, a word about their new album. Not as clean or instanly likeable as their last, but still very good. Choice cuts: "Your New Twin Sized Bed" and "Grapevine Fires".
The show was at McCarren Park Pool, a lovely outdoor venue that is an old, drained out community pool turned concert space. There wasn't a bad spot in the place - no matter where I stood I could hear and see perfectly, even with the show being sold out.
I walked in late, and the band was in the middle of "No Sunlight" off of the new record. It, and the tracks that followed, stayed pretty close to the album renditions. Then they launched into "I Will Possess Your Heart", the latest single, and everything changed.
It was the extended version, which becomes even more extended live. You know when you're making art - music, theater, cooking, whatever - and you hit that zone where if anyone asked you your name you wouldn't be able to tell them? Where all the sights and sounds around you are gone? They were totally in that space. Ben Gibbard was totally freaking out on the piano - it was quite the sight....and sound. I was in the far, far back and I could feel that energy; I can only imagine what was happening for the folks in the front.
Unfortunately, after that the show went downhill fast. There was a myriad of technical issues leading up to the show ending early because of a horrible wind/thunderstorm that snuck up on what had been a lovely, clear evening. All in all though, it was a good show and worth it even just for those ten minutes of "I Will....". If Death Cab for Cutie is coming to your town, I suggest checking them out. Just hope that rain isn't in the forecast.
Next Week: Amanda Palmer with the Boston Pops!
First, a word about their new album. Not as clean or instanly likeable as their last, but still very good. Choice cuts: "Your New Twin Sized Bed" and "Grapevine Fires".
The show was at McCarren Park Pool, a lovely outdoor venue that is an old, drained out community pool turned concert space. There wasn't a bad spot in the place - no matter where I stood I could hear and see perfectly, even with the show being sold out.
I walked in late, and the band was in the middle of "No Sunlight" off of the new record. It, and the tracks that followed, stayed pretty close to the album renditions. Then they launched into "I Will Possess Your Heart", the latest single, and everything changed.
It was the extended version, which becomes even more extended live. You know when you're making art - music, theater, cooking, whatever - and you hit that zone where if anyone asked you your name you wouldn't be able to tell them? Where all the sights and sounds around you are gone? They were totally in that space. Ben Gibbard was totally freaking out on the piano - it was quite the sight....and sound. I was in the far, far back and I could feel that energy; I can only imagine what was happening for the folks in the front.
Unfortunately, after that the show went downhill fast. There was a myriad of technical issues leading up to the show ending early because of a horrible wind/thunderstorm that snuck up on what had been a lovely, clear evening. All in all though, it was a good show and worth it even just for those ten minutes of "I Will....". If Death Cab for Cutie is coming to your town, I suggest checking them out. Just hope that rain isn't in the forecast.
Next Week: Amanda Palmer with the Boston Pops!
Thursday, June 5, 2008
Reviewapalooza
I've had the chance to check out a dj set, a show and a movie in the last five days, and thought I would review them for you, precious readers!
Also: because I am a bit of a celebrity lover (and so are you - admit it!), a round up of the celebrities I have seen so far:
Chris Noth
Maya Rudolph
Natasha Lyonne
Sia
Dale Levitski (Top Chef)
On to the reviews:
Dj Set - J.D. Samson (Le Tigre)
I was fortunate enough to have J.D. dj'ing a dance party at a bar blocks away from the apartment I am subletting, so I had to walk over and check it out. When she dj's in Chicago, it always brings out a great crowd of queers and their allies, all shaking their booties to dance party and roller skate-esque jams. I was suprised that the bar was pretty empty when I got there, and no one was dancing, which was a shame because her set was great. It was 90's themed, and the highlights for me were old Mariah Carey, Blackstreet and En Vogue. I could have lived without the Shaggy, for sure.
The bar started to get crowded a few hours in, and people were shaking it out on the floor but by that time, I was tired and ready to call it night. Also, it was a much less queer/genderqueer bunch than in Chicago - which doesn't make it better or worse.....but I did find it interesting.
Rilo Kiley at Terminal 5
My birthday was on Monday (I got the candy referred to in an earlier post from Emily) and I got to spend it with Jenny Lewis and crew. The venue was great - it looks like it was an old warehouse and the sound was fantastic. No matter where you stood, there was a great view and the staff was super friendly.
I've seen Rilo Kiley a few times before, and this was hands down the best show I've seen them do - in fact, it was overall one of the best shows I've seen. The set list was the perfect mix of old and new tunes and they were really feeding off of each other's energy. There was a balloon drop during "Silver Lining" that was a little reminiscent of going to a Phish show, but was still pretty fun. The encore ended with "Portions for Foxes" - the song I (and probably many others) had been waiting to hear all night. My only gripe is that they added a jam in the middle and end of the song (once again giving me flashbacks to the Phish days).
All in all: an (almost) totally flawless show, and the perfect way to celebrate my birthday.
Movie: Sex and the City -warning, mild spoilers
I will be the first to admit it: I have Carrie fever. Or, I should say, had. I loved the show, despite its many flaws, and my heart raced every time I saw the ads for the movie. I sat in line for an hour yesterday just to get a seat.
The movie? It is bad. Really, really bad.
The fashion is a range of bland to tacky. The label placement was over the top. The story line dragged on and on and on and some of the choices didn't seem true to the show or to the characters. The soundtrack was obnoxious, aside from Jennifer Hudson's song.
Speaking of Jennifer Hudson: she was the only non-white woman (aside from the extras playing her family and friends in St. Louis) in the entire film. ENTIRE FILM. Apparently all of New York is white. She is brought in to, essentially, fix Carrie (the rich white woman) and then haul back to St. Louis. It rang a little Mammy to me.
So, those are my reviews for this week. Next week: Death Cab for Cutie in Williamsburg, Brooklyn. Stay tuned.
Also: because I am a bit of a celebrity lover (and so are you - admit it!), a round up of the celebrities I have seen so far:
Chris Noth
Maya Rudolph
Natasha Lyonne
Sia
Dale Levitski (Top Chef)
On to the reviews:
Dj Set - J.D. Samson (Le Tigre)
I was fortunate enough to have J.D. dj'ing a dance party at a bar blocks away from the apartment I am subletting, so I had to walk over and check it out. When she dj's in Chicago, it always brings out a great crowd of queers and their allies, all shaking their booties to dance party and roller skate-esque jams. I was suprised that the bar was pretty empty when I got there, and no one was dancing, which was a shame because her set was great. It was 90's themed, and the highlights for me were old Mariah Carey, Blackstreet and En Vogue. I could have lived without the Shaggy, for sure.
The bar started to get crowded a few hours in, and people were shaking it out on the floor but by that time, I was tired and ready to call it night. Also, it was a much less queer/genderqueer bunch than in Chicago - which doesn't make it better or worse.....but I did find it interesting.
Rilo Kiley at Terminal 5
My birthday was on Monday (I got the candy referred to in an earlier post from Emily) and I got to spend it with Jenny Lewis and crew. The venue was great - it looks like it was an old warehouse and the sound was fantastic. No matter where you stood, there was a great view and the staff was super friendly.
I've seen Rilo Kiley a few times before, and this was hands down the best show I've seen them do - in fact, it was overall one of the best shows I've seen. The set list was the perfect mix of old and new tunes and they were really feeding off of each other's energy. There was a balloon drop during "Silver Lining" that was a little reminiscent of going to a Phish show, but was still pretty fun. The encore ended with "Portions for Foxes" - the song I (and probably many others) had been waiting to hear all night. My only gripe is that they added a jam in the middle and end of the song (once again giving me flashbacks to the Phish days).
All in all: an (almost) totally flawless show, and the perfect way to celebrate my birthday.
Movie: Sex and the City -warning, mild spoilers
I will be the first to admit it: I have Carrie fever. Or, I should say, had. I loved the show, despite its many flaws, and my heart raced every time I saw the ads for the movie. I sat in line for an hour yesterday just to get a seat.
The movie? It is bad. Really, really bad.
The fashion is a range of bland to tacky. The label placement was over the top. The story line dragged on and on and on and some of the choices didn't seem true to the show or to the characters. The soundtrack was obnoxious, aside from Jennifer Hudson's song.
Speaking of Jennifer Hudson: she was the only non-white woman (aside from the extras playing her family and friends in St. Louis) in the entire film. ENTIRE FILM. Apparently all of New York is white. She is brought in to, essentially, fix Carrie (the rich white woman) and then haul back to St. Louis. It rang a little Mammy to me.
So, those are my reviews for this week. Next week: Death Cab for Cutie in Williamsburg, Brooklyn. Stay tuned.
Monday, June 2, 2008
The Breeders at the Metro, 5/31/08
In the interest of full disclosure, I'll open this review by stating that the Pixies are one of my all-time favorite bands, and have been since junior high. I firmly believe that Kim Deal is one of the patron saints of the music scene today (with a particular impact on female musicians), and short of reinventing herself as Shania Twain or something equally horrid, she can do no wrong in my eyes.
That being said, however, the history of the Breeders has been rocky at best, and fraught with dissension and uncertainty. Constant lineup changes, not to mention Kelley Deal's well-publicized drug bust in 1995, have forced Kim to practically reinvent the band on every record. (And with The Amps in the mid 90s, she did.) Furthermore, I've seen bad Breeders shows: shows where Kim and Kelley seem snippy with each other, where the audience doesn't connect with the new backing band, where Kelly doesn't seem confident in her playing, where Kim's already cigarette-husky voice is shot, where the tempos just never seem to click.
Last Saturday's show at the Metro, I'm happy to say, was none of those things. In fact, I'd venture to say that it was the tightest Breeders show I've ever seen. Kim was laughing and joking with the audience, Kelley's guitar playing was rock solid, and they had the entire Metro (sold-out, packed to the gills, and hot as hell) singing along and bouncing to the beat. (And if you know Chicago, and Chicago's aging hipsters, it's next to impossible to get 'em to dance.) Songs came from all over the Breeders' catalogue, and fans were pleased to not only hear new songs from Mountain Battles, but a number of old favorites from Pod, Last Splash, Title TK, The Amps' album Pacer, and even a couple rarities from the Safari and Head to Toe EPs.
The Deal twins were joined on the new album and tour by TK vets Mando Lopez (ex Fear) on bass and Jose Medeles on drums. Special guest stars included the dreadlocked Cheryl-from-Florida on guitar, keyboards, and backing vocals, and Ms. Heather Winna (from Chicago) playing marching cymbals on "Walk it Off." (Winna's musical stylings were also featured on the record... which only makes sense, as her long-time partner Steve Albini recorded Mountain Battles in town at his Electrical Audio studios.)
And without further ado, dear readers, I kept track of the setlist for you.
Tipp City
Huffer
Bang On
Shocker in Gloomtown
Divine Hammer
Night of Joy
No Aloha
Pacer
We're Gonna Rise
It's the Love
Walk it Off
New Year
Cannonball
I Just Wanna Get Along
Happiness is a Warm Gun
Iris
Safari
German Studies
Empty Glasses
first encore:
Overglazed
Fortunately Gone
Here No More
Saints
second encore:
Full on Idle
(psst... the Deal sisters celebrate their birthday on June 10th. Tune into the show to find out when we'll be dedicating an entire show to their music. It's a little something we like to call "Red Hot Deal Days.")
That being said, however, the history of the Breeders has been rocky at best, and fraught with dissension and uncertainty. Constant lineup changes, not to mention Kelley Deal's well-publicized drug bust in 1995, have forced Kim to practically reinvent the band on every record. (And with The Amps in the mid 90s, she did.) Furthermore, I've seen bad Breeders shows: shows where Kim and Kelley seem snippy with each other, where the audience doesn't connect with the new backing band, where Kelly doesn't seem confident in her playing, where Kim's already cigarette-husky voice is shot, where the tempos just never seem to click.
Last Saturday's show at the Metro, I'm happy to say, was none of those things. In fact, I'd venture to say that it was the tightest Breeders show I've ever seen. Kim was laughing and joking with the audience, Kelley's guitar playing was rock solid, and they had the entire Metro (sold-out, packed to the gills, and hot as hell) singing along and bouncing to the beat. (And if you know Chicago, and Chicago's aging hipsters, it's next to impossible to get 'em to dance.) Songs came from all over the Breeders' catalogue, and fans were pleased to not only hear new songs from Mountain Battles, but a number of old favorites from Pod, Last Splash, Title TK, The Amps' album Pacer, and even a couple rarities from the Safari and Head to Toe EPs.
The Deal twins were joined on the new album and tour by TK vets Mando Lopez (ex Fear) on bass and Jose Medeles on drums. Special guest stars included the dreadlocked Cheryl-from-Florida on guitar, keyboards, and backing vocals, and Ms. Heather Winna (from Chicago) playing marching cymbals on "Walk it Off." (Winna's musical stylings were also featured on the record... which only makes sense, as her long-time partner Steve Albini recorded Mountain Battles in town at his Electrical Audio studios.)
And without further ado, dear readers, I kept track of the setlist for you.
Tipp City
Huffer
Bang On
Shocker in Gloomtown
Divine Hammer
Night of Joy
No Aloha
Pacer
We're Gonna Rise
It's the Love
Walk it Off
New Year
Cannonball
I Just Wanna Get Along
Happiness is a Warm Gun
Iris
Safari
German Studies
Empty Glasses
first encore:
Overglazed
Fortunately Gone
Here No More
Saints
second encore:
Full on Idle
(psst... the Deal sisters celebrate their birthday on June 10th. Tune into the show to find out when we'll be dedicating an entire show to their music. It's a little something we like to call "Red Hot Deal Days.")
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