Category Archives: Music + Playlists

The Night I Ended Up Onstage with Prince

The day Prince dies I find out this way: I’m supposed to do a radio interview in the morning and instead the interviewer texts, “Can’t do interview until I know what’s happened to Prince.” With a clutching stomach I write back, “What happened to Prince?” and she tells me and like everyone else I enter the social media vortex of first denial, then grief.

Later that day I sit in a café and try to write. I’ve written in this café for years but now it’s emptier than I’ve ever seen it. I check my Facebook feed hourly, it’s a glut of shock and sadness. No one can believe it; no one can bear to believe it. I wonder if the café’s empty because everyone has stayed home to mourn. The staff is somber too. They play “Raspberry Beret” and I hold it together. They play “Kiss” and I cry into my coffee even as I wonder why I am mourning someone I did not actually know.

Then I think, of course I did know him. Like everyone else, I met him in the space between him creating the music and us hearing that music. In that place some gorgeous alchemy happened, and in the specific way of the beloved artist he was known to us; he was loved by us.

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Growing Up Xicana: Looking back on La Reina Selena 21 Years After Her Death


Selena Quintanilla

I am seven years old and one of the kids in class starts singing “Bidi bidi bom bom” and I am ready to sing along because I love this song so much and I want to be Selena so bad. The kid continues singing and then ends the song with “Selena is a dumb dumb.” I turned so fast, gasped, and pointed my finger at the kid. “You cannot talk about her like that. Selena does not deserve your ugly words, pendejo.” I was ready to fight for my queen. I am still seven and it is time to take school photos, I specify to my cousin Omar, “I want my hair to look like Selena’s.” He curled my hair into tight swirls and then put it into a high ponytail and I never felt so beautiful in a school photo before. Anytime Selena’s videos played on TV, I was enchanted. Her energy was magnetic and I loved watching her perform. I am eight years old and I get home from school and turn on the TV. The news reporter is explaining that Selena was pronounced dead in the afternoon. I turned the TV off and stared up at the ceiling in silence for a long time, I didn’t cry, but my head felt light and I couldn’t think about anything else that day. I moved to Colorado that summer to live with my Tía Irma. For the sake of bonding, she used to drive me around in her red Toyota with the radio blasting. We danced and sang as  loud as we could in the car. I remember we made it back to the apartment in the evening after a session of karaoke in the car together and Selena’s newest song, “Dreaming of You” vibrated through the speakers. We sat in silence and let Selena finish singing before we got out of the car. Today is the 21st anniversary of her passing and I still think of her often, as a light and as someone who was taken from earth too early (she was 23). Even with her tragic departure, she is still an icon. She radiates power and what it means to be a xingona (a badass).
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The Zodiacal Women of Queen Crescent

Queen Crescent is a heavy rock band with psychedelic leanings from Oakland, California. They’re women of color, some of them are queer, and all of them shred. Queen Crescent has a sense of humor, an unapologetic prismatic identity, chops, knowledge, confidence and direction. The guitars are tuned low, and the flute floats over in what feels like a playful counterpunch or call-and-response. Vocals seem to traverse the land between. The ambiguity of the crescent moon itself might reflect conceptually in sonic, layered anthems, which are physically hypnotic to witness live—such music pulses through your body, even if you’re wearing earplugs. I can especially hear this in the band’s vocals, which keep to a low register, even when belting truth before some guitar hooks hit, crashing like waves.

Oakland, CA heavy rock band Queen Crescent

I got the chance to corner Queen Crescent and ask them some questions about their sound, their future, and their recently released video for their new song, “Zodiacal Woman,” which is directed by Doug Avery, with director of photography Ethan Indorf.

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How to Live and Die as an Artist: On Patti Smith & David Bowie

Horses

“Don’t forget it! Use your voice!!!!”

So shouted 69-year-old Patti Smith, arms flailing, long grey hair flying, at the Wiltern in Los Angeles during Saturday’s sold-out last night of her tour performing her iconic 1975 album Horses for its 40th anniversary. She spit on the stage, danced barefoot and thrust her voice to the heavens, with the crowd roaring back. An older female artist thrumming with life, rage, rock and joy; aging, ageless, human.

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Best of 2015: Top 10 Albums Featuring Strong Female &/or Genderqueer Vocals

There are and will be many Best Music of 2015 lists floating around on the ‘nets, but none featuring strong female and/or genderqueer vocals—until now! In arbitrary/alphabetical order:

1. Anna Van Hausswolff – The Miraculous

miraculous

This album felt more doom-metal than her last, which I was surprised by/totally okay with.


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We Were There: Wax Idols and Them Are Us Too Live @ BOTH in San Francisco

Photo credit: Holly Coley

Photo credit: Holly Coley

I may be having a musical mid-life crisis. My efforts at personal growth and introspection have landed me in front of a funhouse mirror and suddenly so many things that I have loved, or thought I loved, possibly still do love, are bugging the shit out of me. “Please!” I whined the other day, “I never want to hear another band that thinks they sound like the New York Dolls. Make it stop.” I have a serviceable collection of powerpop 45s. Hell,  in 2004 I even snuck backstage to take a photo with the Romantics in my matching haircut and skinny tie.  A few months ago, I was weeding out dead weight from my record collection and jettisoned a batch of albums featuring 30-year-old men in pink overalls crooning about their underage conquests. But then, last Sunday, I was visited by my teenage self and received a jolt of inspiration.

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The Universe Doesn’t Know You Exist : An Interview with Meghan O’Neil Pennie of Super Unison, ex-Punch

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Super Unison, photo by Matthew Kadi

There’s this tree growing behind my apartment that took me five years to really notice. It’s huge. Twenty feet taller than our three-story building, with dense leaves, a squirrel’s nest, and a rotating cast of birds. I don’t understand why I took it for granted for so long. Maybe I needed to live in New York City for a few years before I realized how special it was to have an epic, dynamic, vital being growing in your backyard. Anyway, Meghan O’Neil Pennie, the lead singer and bassist of Super Unison, and former lead singer of PUNCH, is like that for me too. Meghan was the big sister of the drummer in my high school punk band. She was always lurking when we practiced in his parent’s living room. In college she was my best friend’s roommate, so we would often cook dinner together and hang. She felt like a family member who had always been around and always would be. So when she started singing for PUNCH, I hardly noticed. I feel stupid about that now. Her vocals on  the five(!) PUNCH records released by 625, Deathwish, Discos Huelgas, are so fucking ferocious and unrelenting it hurts my throat and heart to listen. Meghan also has this incredibly powerful stage presence. I’m watching old  YOUTUBE videos and found one of her performing at a festival in the Czech Republic and she’s leaping about stage with one broken foot while people stagedive around her. Meghan derived the title of PUNCH’s last record, “They Don’t Have to Believe” from the Kathleen Hanna documentary, The Punk Singer, in which Hanna says “she doesn’t expect everyone to understand or believe in feminism or her personal battle with illness, but they should have to stay out of her way.” Meghan’s work in her new band, Super Unison, continues in this lineage. Her vocals are upfront and unapologetic, slightly more melodic than before, a little less thrash and a little more riot grrrl. Here, Meghan and I talk about her new band, her lyrics, and how she became the musician she is today. Continue reading

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Reviewing Holly Herndon’s Platform

holly herndon

The following is a music review (similar to what I did before and before) where I write what comes to me as I listen to Holly Herndon’s new album, Platform:

1. “Interference”
Traverse time apart from/next to myself
Dedicated machinery, joints dance, hum of fast-paced rise and fall
Linking slow and sudden
Stutter clearly, throughout. The  fundamental frequency of great shifts.
Shift to quiet. Shift in circles. Pulse out. Outer ripples provide the current rhythm reverberating back, activating other nodes. Laser cutting across dark matter, loping looping space falling apart fa fa falling apart. Continue reading

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Indie Artist Spotlight: Rachel Eckroth

rachelekroth

If you’re like me when it comes to music, then it’s likely that you’re constantly scouring the internet for exciting and unheard-of musical gems. I get especially hype when I come across women who play actual live instruments and play them well. Rachel Eckroth is undoubtedly one of these jewel artists who allow me to happily revel in indie girl coolness. Although you may not have heard of Rachel, you may have seen her. She is a member of the all-female house band on The Meredith Vieira Show on NBC. She gigs with her band relatively often but can also be found working as a side-woman playing piano or keyboard and singing across a range of genres.

One of my most memorable encounters with Rachel was on a winter evening in 2013. I packed into a tiny room to hear Rachel’s six-piece band perform as part of the Capricorn Music Festival in New York City. The room of about thirty or so musicians and fans received a steady flow of music that sampled a panoply of jazz-infused colors. As the group performed, the room pulsated with nodding heads entranced by the groove. That night, they performed Eckroth’s original tune, “More Beautiful Than That.” When they hit the bridge, I looked around the room—not a single body was still. Her music has a distinct charge. It’s a sonic road-trip, one that will take you places if you decide to let it. As she glided through changes on her keyboard, I remember thinking Damn, she can play.

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Songs My Toddler Likes, Ranked According to Feminism

My daughter just turned 20 months old, and she’s really starting to take control of her musical destiny: while we picked out the music she listened to when she was a baby, now she has her own preferences and can demand we sing or play the same songs over and over again. And she’s verbal enough now that she can actually sing along! As feminist parents, of course, we recognize that most traditional children’s music is a tool of the patriarchy, intended to mold pliant young minds into lovers of the status quo. But as helpless thralls of our adorable child, we make no effort to discourage her from singing the songs she loves. Still, why not rank the songs our daughter loves best from Least to Most Feminist? Here’s a somewhat arbitrarily-chosen list that includes most of her favorites.
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