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When men display Amos’ brand of unpredictable, reckless ambition, we call them geniuses. Think of Jack White, or how very strange Radiohead’s Kid A sounded when it was first released but how enthusiastically that strangeness was greeted. Look outside of music, too, at how we adore the formal experimentation and/or self-indulgence of David Foster Wallace, or Charlie Kaufman, or Community creator Dan Harmon. Spike Jonze just got an Oscar for writing about his imaginary girlfriend! For a guy, doing strange things with form and pulling up bizarre visions from the core of his own personal torment is proof that he’s a capital-A Artist. But we scarcely mention it when we talk (or don’t talk) about Amos. I hate to pull a “because the patriarchy” here, but I can think of no other reason why so many people have worked, so hard, to avoid engaging with her work — or why they so often do it by way of trivializing Amos herself. When a woman claims the freedom to experiment that’s necessary to approach “genius” territory — the freedom to disregard or flaunt expectations, to alienate people, to fall flat on her face, to produce something that it might take more than one or two casual listens to penetrate — she’s grabbing at a traditionally male prerogative. When that happens, rather than admitting that a woman might intentionally release unusual work because she’s got some new ideas, most of us decide that she’s letting weird stuff leak out by accident, instead of applauding her sense of purpose.

Where Would Music Be Without Tori Amos

You really need to go read this thing Sady Doyle wrote about Tori Amos whether you like Tori Amos or not.

(via perpetua)
May 28 '14 · 310 notes · via perpetua · Tagged tori, quote,
Ageism is a real thing. I had to get my head around how am I going to — in the music industry, being in front of the camera at 50, it’s not as if we — women — are seen as Johnny Depp and Brad Pitt where we’re just coming into our hotness. They’re leading men! There are leading women that are around my age but it’s just starting to happen. You’re just starting to see that happen in the movie industry. But coming to a rock concert — [women] can’t be doing granny rock. We’re singing about emotions, we’re singing about sexuality, we’re singing about all these things. Whereas roles for Helen Mirren, who is the hottest thing I’ve ever seen — try and find her equivalent in rock and roll. We are having to carve that out for ourselves because you don’t go see some of my contemporaries, you don’t go see the Chilies [Red Hot Chili Peppers] and think They need to be doing grandpa rock. No! They’re virile men who are sensual and they can sing about anything. Our culture doesn’t see it that way [for women]. There are certain things, if you start singing about them — if you listen to the young girls, I hear them talk, “Oh! She looks desperate! That’s so desperate!” Whether you’re in your 20’s looking desperate or you’re in your 50’s looking desperate — desperate is desperate. But you don’t hear them say that about the guys

Tori Amos On Taylor Swift, Fame And Embracing Menopause

This quote from Tori Amos is so, so, so right on. I hope she can pull this off.

(via perpetua)
May 28 '14 · 195 notes · via perpetua · Tagged tori, quotes,

perpetua:

Almost inevitably, this new decade will bring us a large crop of bands recycling ’90s guitar rock. Of all the various strains of ’90s rock, I think the most quintessential and commercial is “alt-rock,” an aesthetic I think is best connected to the bands on the DGC label — Nirvana, Weezer, Hole, Elastica, Sloan, Sonic Youth, Teenage Fanclub, Veruca Salt — as well as other major label acts like Bush who were running with a similar formula and aesthetic. But what is that formula? What is that aesthetic? I think “Number One Blind” is a very good answer to those questions. In my mind, this song is a perfect example of the archetype, and just hearing it takes me back to the era of actually-pretty-great mainstream rock radio and suburban malls full of alterna-teens.

I’ll break it down for you.

* Gently rolling, thick bass line. Kim Deal has so much to answer for, and even the worst of it is pretty decent. (Like, say, “Good” by Better Than Ezra.) I think Krist Novoselic’s approximation of Deal’s style was itself extremely influential. I would argue that even ahead of fuzzy guitar tone, this is the most essential and recognizable element of ’90s alt-rock, especially when contrasted with a simple, pretty guitar figure as it is on the verse of “Number One Blind.”

* Strict verse/chorus/verse construction. I find that archetypal ’90s alt-rock very seldom includes pre-choruses, and bridges are generally quite brief. The bridge in “Number One Blind” takes us from a chorus into a solo, but it’s not necessary — a lot of songs in the subgenre will just slam a solo between choruses, or skip the solo entirely.

* Verses are mellow; choruses are loud. Duh! You stomp on your fuzz pedal when it’s time for the chorus. ’90s rock radio was basically this steady ebb and tide of soft verses and loud choruses. Black Francis didn’t invent this, but I think pretty much all of this music is directly traceable to the Pixies catalog.

* The solo break is very short. The solo is always melodic, but the playing is never too smooth or overly professional. These are mainly to add some touch of melodic flourish and to break up the rigid grid of the song’s construction for a few seconds.

* The melodies are simple. Okay, but not so much that it’s totally sing-song.

* The vocals have an arch quality. This depends on the character of the frontperson, but there’s pretty much always some touch of irony and bitterness in the tone.

* Obscure title and/or lyrical references. The chorus — “Levolor, which of us is blind?” is a play on words — blindness, as in obliviousness, and Levolor, as in the manufacturer of window blinds. There’s a metaphor in here, but it’s not fully formed, which is pretty much the way things go in this style. It’s more about suggesting an idea and an image rather that explicating it. Bonus points for the specific reference to Levolor, which has some kind of nostalgic quality despite being a brand that still exists.

(Originally posted on Fluxblog 10/14/2010)

May 27 '14 · 72 notes · via perpetua · Tagged comment,
"Are you selling your soul to a cold gun ?"

Sofia Vergara reads mean tweet.

(Source: sandrabbullock)

(Source: thebaddestwitch)

May 26 '14 · 203 notes · via lucystoners · Tagged tori,

(Source: constantlyeternal)

May 26 '14 · 61,637 notes · via toriamosvevo · Tagged yes,

10knotes:

bunny eating rasberries

it gave the bun lipstick

May 25 '14 · 365,123 notes · via toriamosvevo · Tagged cute,

panic-in-the-streets-of-london:

When you are sad remember in 1983 when The Smiths played their first show in the US, Morrissey didn’t wear his glasses and fell off the stage.

(played 1,091 times)
Track: "Hurt"
Artist: Nine Inch Nails
Album: "The Downward Spiral"

nincentral:

NIN Song of the Day: Hurt

May 25 '14 · 391 notes · via nincentral · Tagged nin, hurt,

charlotte-it-was-really-nothing:

Morrissey born 22nd May, 1959 - 

May 24 '14 · 1,547 notes · via only-p1ctures · Tagged moz,
vintagesalt:

Morrissey

vintagesalt:

Morrissey

May 24 '14 · 348 notes · via vintagesalt · Tagged moz,
radiofreepants:

This was my favorite part of Morrissey’s Autobiography. Happy bday, Moz!

radiofreepants:

This was my favorite part of Morrissey’s Autobiography. Happy bday, Moz!

May 23 '14 · 580 notes · via radiofreepants · Tagged bowie, moz,
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