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popculty · 4 years

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52 Films by Women: 2020 Edition

Another annual challenge complete!

Last year, I focused on diversifying my list. This year I kept that intention but focused on watching more non-American films and films from the 20th century. Specifically, I sought out Agnès Varda’s entire filmography, after her death in 2019. (I was not disappointed - What a filmmaking legend we lost.)

I also kept a film log for the first time and have included some of my thoughts on several films from that log. I made a point of including reviews both positive and negative, because I think it’s important to acknowledge the variability and breadth of the canon, so as not to put every film directed by a woman on a pedestal. (Although movies directed by women must clear a much higher bar to be greenlit, meaning generally higher quality...But that’s an essay for another day :)

* = directed by a woman of color

bold = fave

1. The Rhythm Section (2020) dir. Reed Morano - Not as good as it could have been, given Morano’s proven skill behind the camera, but also not nearly as bad as the critics made it out to be. And unbelievably refreshing to see a female revenge story not driven by sexual assault or the loss of a husband/child.

2. Cléo de 5 à 7 (1962) dir. Agnès Varda - If you ever wanted to take a real-time tour of Paris circa 1960, this is the film for you.

3. Little Women (2019) dir. Greta Gerwig - Still my favorite Little Women adaptation. I will re-watch it every year and cry.

4. Varda by Agnès (2019) dir. Agnès Varda & Didier Rouget

5. Booksmart (2019) dir. Olivia Wilde - An instant classic high school comedy romp that subverts all the gross tropes of its 1980s predecessors.

6. Girls of the Sun (2018) dir. Eva Husson

7. Blue My Mind (2017) dir. Lisa Brühlmann

8. Portrait of a Lady On Fire (2019) dir. Céline Sciamma - Believe the hype. This film is a master thesis on the female gaze, and also just really effing gorgeous.

9. Belle Epine (2010) dir. Rebecca Zlotowski

10. Vamps (2012) dir. Amy Heckerling - With Krysten Ritter and Alicia Silverstone as modern-day vampires, I was so ready for this movie. But it feels like a bad stage play or a sit-com that’s missing a laugh-track. Bummer.

11. *Birds of Prey (2020) dir. Cathy Yan - Where has this movie been all our lives?? Skip the next onslaught of Snyder-verse grim-darkery and give me two more of these STAT!

12. She’s Missing (2019) dir. Alexandra McGuinness

13. The Mustang (2019) dir. Laure de Clermont-Tonnere - Trigger warning for the “protagonist” repeatedly punching a horse in the chest. I noped right out of there.

14. Monster (2003) dir. Patty Jenkins – I first watched this movie when I was probably too young and haven’t revisited it since. The rape scene traumatized me as a kid, but as an adult I appreciate how that trauma is not the center of the movie, or even of Aileen’s life. Everyone still talks about how Charlize “went ugly” for this role, but the biggest transformation here isn’t aesthetic, it’s physical – the way Theron replicates Wuernos’ mannerisms, way of speaking, and physicality. That’s why she won the Oscar. I also love that Jenkins calls the film “Monster” (which everyone labels Aileen), but then actually uses it to tell the story of how she fell in love with a woman when she was at her lowest, and that saved her. That’s kind of beautiful, and I’m glad I re-watched it so that I could see the story in that light, instead of the general memory I had of it being a good, feel-bad movie. It’s so much more than that.

15. Water Lilies (2007) dir. Céline Sciamma – Sciamma’s screenwriting and directorial debut, the first in her trilogy on youth, is as painfully beautiful as its sequels (Tomboy and Girlhood). It’s also one of the rare films that explores the overlap of queerness and girl friendships.

16. The Trouble with Angels (1966) dir. Ida Lupino – Movies about shenanigan-based female friendships are such rare delights. Rosalind Russel is divine as Mother Superior, and Hayley Mills as “scathingly brilliant” as the pranks she plays on her. Ida Lupino’s skill as an editor only enhances her directing, providing some truly iconic visual gags to complement dialogue snappy enough for Gilmore Girls.

17. Vagabond (1985) dir. Agnès Varda – Shot with a haunting realism, this film has no qualms about its heroine’s inevitable, unceremonious death, which it opens with, matter-of-factly, before retracing her final (literal) steps to the road-side ditch she ends up in. (I’m partly convinced said heroine was the inspiration for Sarah Manning in Orphan Black.)

18. One Sings, The Other Doesn’t (1977) dir. Agnès Varda – Probably my favorite classic Varda, this film feels incredibly personal. It’s essentially a love story about two best friends with very different lives. For an indie made in the ‘70s, the diversity, scope, and themes of the film are impressive. Even if the second half a drags a bit, the first half is absolute perfection, engaging the viewer immediately, and clipping along, sprinkling in some great original songs that were way progressive for their time (about abortion, female bodily autonomy, etc) and could still be considered “bangers” today.

19. Emma (2020) dir. Autumn de Wilde

20. Black Panthers (1969) dir. Agnès Varda

21. Into the Forest (2016) dir. Patricia Rozema - When the world was ending (i.e. the pandemic hit) this was the first movie I turned to - a quiet, meditative story of two sisters (Elliot Page and Evan Rachel Wood) surviving off the land after a sudden global blackout. Four years later, it’s still one of my favorite book-to-screen adaptations. I fondly remember speaking with director Patricia Rozema at the 2016 Chicago Critics Film Festival after a screening, her love for the source material and desire to “get it right” so apparent. I assured her then, and reaffirm now, that she really did.

22. City of Trees (2019) dir. Alexandra Swarens

23. Never Rarely Sometimes Always (2020) dir. Eliza Hittmann - To call this a harrowing and deeply personal journey of a sixteen-year-old who must cross state lines to get an abortion would be accurate, but incomplete. It is a story so much bigger than that, about the myriad ways women’s bodies and boundaries are constantly violated.

24. Paradise Hills (2019) dir. Alice Waddington

25. *Eve’s Bayou (1996) dir. Kasi Lemmons – I’ve been meaning to watch Kasi Lemmons’ directorial debut for many years now, and I’m so glad I finally have, because it fully deserves its icon status, beyond being one of the first major films directed by a black woman. Baby Jurnee Smollett's talent was immediately recognizable, and she has reminded us of it in Birds of Prey and Lovecraft Country this year. If merit was genuinely a factor for Oscar contenders, she would have taken home gold at eleven years old. Beasts of the Southern Wild has been one of my all-time favorites, but now I realize that most of my appreciation for that movie actually goes to Lemmons for blazing the trail with her story of a young black girl from the bayou first. It’s also a surprisingly dark story about memory and abuse and familial relationships that cross lines - really gutsy and surprising themes, especially for the ‘90s.

26. Blow the Man Down (2019) dir. Bridget Savage Cole & Danielle Krudy - Come and get your sea shanty fix!

27. Touchy Feely (2013) dir. Lynn Shelton - R.I.P. :(

28. Hannah Gadsby: Douglas (2020) dir. Madeleine Parry - If you thought Gadsby couldn’t follow up 2018′s sensational Nanette with a comedy special just as sharp and hilarious, you would have been sorely mistaken.

29. Girlhood (2013) dir. Céline Sciamma

30. Breathe (2014) dir. Mélanie Laurent

31. *A Dry White Season (1989) dir. Euzhan Palcy

32. Laggies (2014) dir. Lynn Shelton

33. *The Old Guard (2020) dir. Gina Prince-Bythewood – Everything I’ve ever wanted in an action movie: Immortal gays, Charlize Theron wielding a labrys (battle axe), kinetic fight choreography I haven’t seen since the last Bond movie…Watched it twice, then devoured the comics it was adapted from, and I gotta say: in the hands of black women, it eclipses the source material. Cannot wait for the just-announced sequel.

34. Morvern Callar (2002) dir. Lynn Ramsay

35. Shirley (2020) dir. Josephine Decker

36. *Radioactive (2019) dir. Marjane Satrapi – The story is obviously well worth telling and the narrative structure – weaving in the future consequences of Curie’s discoveries – is clever, but a bit awkwardly executed and overly manipulative. There are glimpses of real brilliance throughout, but it feels as if the director’s vision was not fully realized, to my great disappointment. Nonetheless, I appreciated seeing Marie Curie's story being told by a female director and embodied by the always wonderful Rosamund Pike.

37. *The Half of It (2020) dir. Alice Wu - I feel like a real scrooge for saying this, but this movie did nothing for me. Nothing about it felt fresh, authentic or relatable. A real disappointment from the filmmaker behind the wlw classic Saving Face.

38. Mouthpiece (2018) dir. Patricia Rozema - I am absolutely floored. One of those films that makes you fall in love with the art form all over again. Patricia Rozema continues to prove herself one of the most creatively ambitious and insightful directors of our time, with this melancholic meditation on maternal grief and a woman’s duality.

39. Summerland (2020) dir. Jessica Swale - The rare period wlw love story that is not a) all-white or b) tragedy porn. Just lovely.

40. *The Last Thing He Wanted (2020) dir. Dee Rees – As rumored, a mess. Even by the end, I still couldn’t tell you who any of the characters are. Dee, we know you’re so much better than this! (see: Mudbound, Pariah)

41. *Cuties (2020) dir. Maïmouna Doucouré – I watched this film to 1) support a black woman director who has been getting death threats for her work and 2) see what all the fuss is about. While I do think there were possibly some directorial choices that could have saved quite a bit of the pearl-clutching, overall, I didn’t find it overly-exploitative or gross, as many (who obviously haven’t actually watched the film) have labeled it. It certainly does give me pause, though, and makes me wonder whether children can ever be put in front of a camera without it exploiting or causing harm to them in some way. It also makes one consider the blurry line between being a critique versus being an example. File this one under complicated, for sure.

42. A Call to Spy (2019) Lydia Dean Pilcher – An incredible true story of female spies during WWII that perfectly satisfied my itch for British period drama/spy thriller and taught me so much herstory I didn’t know.

43. Kajillionaire (2020) dir. Miranda July - I was lucky enough to attend the (virtual) premiere of this film, followed by an insightful cast/director Q&A, which only made me appreciate it more. July's offbeat dark comedy about a family of con artists is queerer and more heartfelt than it has any right to be, and a needed reprieve in a year of almost entirely white wlw stories. The family's shenanigans are the hook, but it's the budding relationship between Old Dolio (an almost unrecognizable Evan Rachel Wood) and aspiring grifter Melanie (the luminous Gina Rodriguez) that is the heart of the story.

44. Misbehaviour (2020) dir. Philippa Lowthorpe – Again, teaching me herstory I didn’t know, about how the Women’s Liberation Movement stormed the 1970 Miss World Pageant. Keira Knightley and Gugu Mbatha-Raw’s characters have a conversation in a bathroom at the end of the film that perfectly eviscerates well-meaning yet ignorant white feminism, without ever pitting women against each other - a feat I didn’t think was possible. I also didn’t think it was possible to critique the male gaze without showing it (*ahem Cuties, Bombshell, etc*), but this again, invents a way to do it. Bless women directors.

45. *All In: The Fight for Democracy (2020) dir. Liz Garbus and Lisa Cortes – 2020’s 13th. Thank god for Stacey Abrams, that is all.

46. *The 40-Year-Old Version (2020) dir. Radha Blank – This scene right here? I felt that in my soul. This whole film is so good and funny and heartfelt and relatable to any artist trying to walk that tightrope of “making it” while not selling their soul to make it. My only initial semi-note was that it’s a little long, but after hearing Radha Blank talk about how she fought for the two-hour run-time as a way of reclaiming space for older black women, I take it back. She’s right: Let black women take up space. Let her movie be as long as she wants it to be. GOOD FOR HER.

47. Happiest Season (2020) dir. Clea Duvall - Hoooo boy. What was marketed as the first lesbian Christmas rom-com is actually a horror movie for anyone who’s ever had to come out. Throw in casual racism and a toxic relationship treated as otp, and it’s YIKES on so many levels. Aubrey Plaza, Dan Levy, and an autistic-coded Jane are the only (underused) highlights.

48. *Monkey Beach (2020) dir. Loretta Todd

49. *Little Chief (2020) dir. Erica Tremblay – A short film part of the 2020 Red Nation Film Festival, it’s a perfect eleven minutes that I wish had gone on longer, if only to bask in Lily Gladstone in a leading role.

50. First Cow (2019) dir. Kelly Reichardt – I know Kelly Reichardt’s style, so I’ll admit-- even as I was preparing for an excellent film, I was also reaching for my phone, planning on only half paying attention during all the inevitable 30-second shots of grass blowing in the wind. (And yes, there are plenty of those.) But twenty minutes in, my phone was set aside and forgotten, as I am getting sucked into this beautiful story about two frontiersman trying to live their best domestic life.There is only one word to describe this film and that is: PURE. I’ve never seen such a tender platonic relationship between men on screen before, and it’s not lost on me that it took a woman to show us that tenderness. Reichardt gives us two men brought together by fate, and kept together by a shared dream and the simple pleasure of not being alone in such a hard world; two men who spend their days cooking, trapping, baking, and dreaming of a better life; two men who don’t say much, but feel everything for each other. The world would be a much better place if men showed us this kind of vulnerability and friendship toward each other. Oh, and it’s also a brutal take-down of capitalism and the myth of the American Dream!

51. Wonder Woman 1984 (2020) dir. Patty Jenkins - My most-anticipated film for the past two years was...well, a mixed bag, to say the least. Too many thoughts on it for a blog post, so stay tuned for the upcoming podcast ep where we go all in ;)

52. *Selah and the Spades (2019) dir. Tayarisha Poe

I hope this gives you some ideas to kick off your new year with a resolution to support more female directors!

What were your favorite women-directed movies of last year? Let me know in the tags, comments, or asks!

#finally finished this #52 films by women #2020 #writing #movies #movie reviews #orig

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theeverlastingshade · 4 years

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Last week Fiona Apple returned with her highly anticipated fifth LP, Fetch the Bolt Cutters, and it’s a remarkable LP filled with the rawest, and most exquisitely rendered music that the idiosyncratic singer/songwriter has recorded to date. FtBC feels like a perfectly natural extension of the baroque pop/art rock instrumentation that defined her fourth LP, The Idler Wheel, but the sound is here is notably denser, and richer, with an unusually heavy emphasis on percussion. On FtBC drums and percussion are supplied by Amy Aileen Wood, while a variety of guitars, pianos, organs, and other instruments were played by Sebastian Steinberg and David Garza. FtBC is the first record of Apple’s to feature this band, and their chemistry together is just remarkable.

The percussion-dominant compositions throughout FtBC are ornate and fluid, at times so minimal that there’s little more than Apple’s angelic harmonies over skeletal snares and a kick drum, and at others so calamitous and dense that it can be tricky to make sense of everything happening at once, sometimes all within the course of the same song, but no matter what the playing sounds like it’s always completely in service of Apple’s songs. “For Her”, one of the album’s many highlights, is a particularly astonishing late-album deep cut that, along with some phenomenal vocal performances from Apple, devastating lyrics, and unrelenting, infectious percussion, is one of the band’s best performances throughout the course of FtBC.

Beginning with nothing but hand claps and the occasional cymbal tap, “For One” quickly begins to erupt in an outpouring of Apple’s multi-tracked alto that seeps into every crevice of the mix. Nimble polyrhythms quickly descend upon the mix, and within 35 seconds “For Her” transitions into a jaunty march with one of Apple’s most infectious deliveries to date as she spits pure venom “Sniff white off a starlet’s breast/Treating his wife like less than a guest/Getting his girl to clean up his mess/Never showing weakness unless it’s award season/It’s the season of the ward/And she’s trying to cut the cord”. The pacing here is masterful, with breakneck rhythm changes, and a plethora of different deliveries from Apple that congeal into breathtaking new shapes.

“For Her” was written in the wake of the Brett Kavanaugh trial, and so naturally it’s a propulsive manifestation of fury directed at those who disbelieve survivors of sexual assault. Midway through the song the rhythm switches gears into a faster tempo with more frantic percussion that culminates with Apple dropping one of the record’s most jarring lines “Well, good morning/Good morning/You raped me in the same bed your daughter was born in”, and from there the song trails off on a wave of silky harmonies. FtBC already sounds like most fully-realized LP from one of the most elusive, and consistently rewarding auteurs in music. It’s also one of the year’s best records so far. Here’s to hoping we don’t have to wait another 8 years for the next one.

#fiona apple #fetch the bolt cutters #Epic Records

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istandardpro · 4 years

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Fiona Apple – Fetch The Bolt Cutters Credits and Streams

Fiona apple releases her fifth studio album, Fetch The Bolt Cutters. Fetch The Bolt Cutters Streams Fetch The Bolt Cutters Credits 1 I Want You To Love MeFiona Apple Producer Amy Aileen WoodFiona Apple Composer Fiona Apple Lyricist Fiona Apple Associated Performer Fiona Apple Bass Sebastian Steinberg Drums Amy Aileen WoodFiona AppleSebastian Steinberg Mastering Engineer […]

The post Fiona Apple – Fetch The Bolt Cutters Credits and Streams appeared first on [istandard].

from WordPress https://istandardproducers.com/fiona-apple-fetch-the-bolt-cutters-credits/

#credit check #Amy Aileen Wood #Amy Wood #Bob Ludwig #bobb bruno #Cara Delevingne #dave way #Davíd Ga

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stratharchives · 4 years

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Guest blog- Who were the first Fellows of the College of Speech Therapists?

This may seem like a simple question but there have been many different lists of their names over the decades. Dr Linda Armstrong and Professor Jois Stansfield think they may have the definitive answer.

Towards the end of the second world war, the amalgamation of the British Society of Speech Therapists (BSST) and the Association of Speech Therapists (AST) produced the College of Speech Therapists. This unification had been under discussion before the outbreak of war. The Board of Registration of Medical Auxiliaries (BRMA) forced the issue in 1942. It would only deal with one qualifying body for any profession and had opted in speech therapy’s case for BSST, thereby excluding the other organisation’s members from its register.

Linda searched unsuccessfully for a list of CST’s Founder Fellows (FF) in various minutes and other documents from the time (now held in Strathclyde University’s Royal College of Speech and Language Therapists’ (RCSLT) historical paper collection):

Speech (BSST’s journal), including reports from BSST AGMs and lists of its Members and Associates

Speech Therapists’ Interim Committee minutes

minutes of the Remedial Section of the Association of Teachers of Speech and Drama (AST from 1943)

AST annual report

CST Provisional Council, Council and Executive minutes

First CST AGM 6.1.45 (the formal inauguration event of the unified professional body).

Other potential written sources from the time, which aren’t in the RCSLT collection include BSST’s Council/Executive minutes, BSST’s monthly Bulletin, AST membership lists and Joint Council minutes.

Linda had great hope that CST’s original Memorandum and Articles of Association would reveal which of the members signed them (and they would be the FF). However, that document isn’t in the Strathclyde collection. Fingers were crossed that the Company Secretary has a copy and that it could be accessed once RCSLT HQ staff return to work after Covid lockdown. Minutes of CST Council from 14 September 1973 revealed a blow to this prospect. An accompanying paper notes that the FF names aren’t listed in the first Articles. Thwarted!

The lists of CST’s FF compiled over the decades didn’t help either, eg those in Bulletin in 1959 and 1974, letters from eminent members in the 1970s, the Annual Report 1990-91, the 1995 RCSLT History and the last published and available RCSLT Directory of 2004. These mostly contain different numbers, some different names and occasionally differentiate Founder Fellows from Fellows Enrolled on Foundation. They repeatedly offer eighteen though as the number of FF. CST’s 1943-44 Provisional Council minutes however show that it consisted of only eight members:

Eileen MacLeod, Beryl Oldrey (Hammond) and Winifred Kingdon Ward from BBST

Silvia Pick (Hudson-Smith), Honor Baines (Boome) and Joan van Thal from AST

the secretaries Amy Swallow and Elizabeth Wood respectively.

The only contemporary written evidence Linda found in the RCSLT collection to confirm who were the FF is from the two sets of minutes of the Remedial Section of the Association of Teachers of Speech and Drama (reconstituted as AST later in 1943 – but that’s another story). They elected six members to be their CST FF in mid-1943.

[Extracts of Remedial Sub-committee minutes. Ref: RCSLT/1/1.]

Linda collated information from 14 different contemporary and more modern sources (up to 1995) and plotted all the names which were identified at least once. This produced 35 names, five of whom we know definitely weren’t FF.

Meanwhile, Jois searched the National Registers of Medical Auxiliary Services – Speech Therapy, published annually by the Board of Registration of Medical Auxiliaries under the auspices of the British Medical Association (BMA). In the 1944 edition speech therapists are designated as FCST or LCST for the first time, i.e. Fellow or Licentiate of the College of Speech Therapists. 27 FCSTs are listed - according very well with Linda’s list of 30 possible FFs from RCSLT sources.

[ Image reproduced courtesy of: British Medical Association. Citation: The National Register of Medical Auxiliary Services. Speech Therapists (NRMAS-ST). 3rd edition (London: BMA, 1944).]

The register confirmed that two of Linda’s list of 30 weren’t FF. That just left the question of Dr Boome, elected FF in 1943. He was a medical doctor and so wouldn’t have appeared as a speech therapist registered with BRMA. He must have been given an award by CST as he led, championed and supported speech therapists so much at the time (he even married one!) and wasn’t one of the doctors awarded Honorary FCST in CST’s early days. His obituary in CST’s journal is clear that he was a FF.

Our current best guess then is that there were 28 FF (named below) – the 27 practising speech therapists listed in the 1944 register as FCST plus Dr Boome. It’s ironic that this list was derived from a BMA document, not from a CST one!

CST’s Founder Fellows

BSST Margaret Elizabeth Badcock (married name - Eldridge).

AST Honor Mary Stanhope Baines (Boome)

AST Dr Edward James Boome

BSST Ethel Edna Brewitt

AST Joan Dakin

AST Aileen Annesley Dance

BSST Ethel Mary Dolman

BSST Muriel Walton Ferrie

BSST Dorothy Marion Fleming

AST Daisy Gwynneth Harries

BSST Winifred Kingdon Ward

AST Ida Margaret Shadforth Knight

AST Grace Elizabeth Lloyd

BSST Lionel Logue

BSST Eileen C MacLeod

BSST Anne Hutcheson McAllister (who founded the Glasgow School of Speech Therapy)

BSST Muriel Mary Morley

BSST Beryl Oldrey (Hammond)

BSST Mabel Victoria Oswald

AST Silvia Phyllis Pick (Hudson-Smith)

AST Dorothy Mary Roe (MacDonald-Heffernan)

AST Hester Rosser

AST Dr Leopold Stein

BSST Amy Swallow

BSST Arthur Percy Tolfree

AST Joan van Thal

AST Joyce Lucy Wilkins

BSST Doris Wilson

Those in bold above sat on the first CST Council – ‘the 18’?

A more detailed and referenced version of this blog-post will be available online via the Strathclyde University Archives and Special Collections catalogue in the near future, so stay tuned!

#StrathSLT85 #RCSLT75 #Speech Therapy #speech therapists #guest blog #archives and special collections #university of strathclyde #20th Century #archives #College of Speech Therapists

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galandfuckinpunxrecords · 4 years

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Fiona Apple

アメリカ　マンハッタンニューヨーク

2012〜

『Fetch the bolt cutters』 4th album 2020/04/17

Label Epic

Producer

Fiona Apple Amy Aileen Wood Sebastian Steinberg Davíd Garza[a]

効果的なピアノ。不思議な世界観。

『Tidal』 1st album 1996/07/23

Label Work Columbia

Producer Andrew Slater

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fionaapplerocks · 5 months

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Featuring Fiona's laughter! [via bandcamp]

#fiona apple #amy aileen wood #just out #Bandcamp

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freshproducerecords · 4 years

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***PRE-ORDER ALERT*** Fiona Apple - Fetch the Bolt Cutters 2xLP $28 Street Date July 17th https://www.freshproducerecords.com/product/fiona-apple-fetch-the-bolt-cutters-2xlp-pre-order-street-date-july-17th-/157?cp=true&sa=false&sbp=false&q=false&category_id=19 Grammy-winning singer-songwriter and alt-rock icon Fiona Apple returns with her first album in nearly eight years! Following up 2012's The Idler Wheel, the raw and percussion-heavy Fetch the Bolt Cutters has earned instant acclaim as one of the best records of the year and some of the finest work of her career. It takes its name from a line in the British police procedural The Fall spoken by star Gillian Anderson, but Apple explains that, "Really, what it's about is not being afraid to speak." She produced the adventurous 13-track collection herself and recorded it at her Venice Beach, CA home studio with drummer Amy Aileen Wood, bassist Sebastian Steinberg, guitarist Davíd Garza and Cara Delevingne singing harmonies. Biting yet buoyant, Fiona's elastic turns of phrase are supported by intoxicating melodic hooks throughout with visceral tracks like "I Want You to Love Me," "Shameika" and "Fetch the Bolt Cutters" serving as standouts. "Fetch the Bolt Cutters is a strange and exceptional record, even within the context of an uncommon career...whimsical and hardcore at the same time..." (The Guardian). LP1 I Want You To Love Me Shameika Fetch The Bolt Cutters Under The Table Relay Rack of His Newspaper LP2 Ladies Heavy Balloon Cosmonauts For Her Drumset On I Go (at Fresh Produce Records) https://www.instagram.com/p/B_fusv8nt60/?igshid=b7g8gkhk48q5

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twistedsoulmusic · 5 months

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A bit later than usual, but we’re back, ready to sprinkle some magic at the start of the week with our latest Monday Mix! We’ve hand-picked ten audio soothers to give you the perfect start to the week. From the playful percussive gongs of Amy Aileen Wood to the gentle ambient jazz of OHMA and the contemplative spoken word by Speakers Corner Quartet. Set aside some time and lose yourself to our mix.

#monday mix #ambient jazz #spoken word #free improvisation #experimental music

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bdscuatui · 4 years

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Các giao dịch bất động sản ở Massachusetts cho các hạt Hampden, Hampshire và Franklin, ngày 26 tháng 4 năm 2020 AgawamBrian P. McCabe cho Jason D. Desclos và Evelyn Desclos, 103 White Fox Road, 260.000 đô la.Cig4 LLC, đến Fatima Obaid, 41 Elm St., $ 230.000.Cig4 LLC, đến Gerald L. Nicholson III, 1031 Main St., $ 262,400.Cynthia Fern-King và Cynthia M. King cho Mark E. Benoit và Susan R. Dawson, 52 Deering St., 240.000 đô la.James G. Couture và Alice N. Couture cho Christina Duquette, 32 Center St., $ 224.000.Joseph Frigo và Lisa Frigo đến Pavel Duducal, 71 Bridge St., $ 125.000.Leo J. Hamel và Kalene L. Hamel đến Keith R. Laflamme và Heather F. Dulude, 23 Portland St., 210.000 đô la.Michael J. McElligott và Melanie M. McElligott cho Nicholas D. Griffin và Ashlee A. Griffin, 129 Wagonwheel Drive, 575.000 đô la.Michael Sohay, Matthew Sohay, Mark Sohay và Kathleen Fila đến MAA Property LLC, 38 Depalma St., $ 120.000.Michele A. Adkins, giám đốc điều hành, Marilyn Mable Ashline, bất động sản, và Marilyn M. Ashline, bất động sản, đến Patriot Living LLC, 38 Fruwirth Ave., 100.500 đô la.Peter Panchelyuga và Irina Panchelyuga cho Brian Brady và Christina Brady, 231 ổ đĩa Lancaster, $ 415.000.Rachel I. Fraser và Marie Vartanian đến Betty Lempke, 23f Castle Hills Drive, 255.000 đô la.Richard M. Lewis đến Norman Cheever, Leslie Cheever và Stephanie K. Cheever, 351 Meadow St., 238.000 USD.Sandra A. Viens và Sandra A. Trembley cho Anthony Francis Lopes và Megan Beth Lopes, 61 South Park Terrace, $ 217.000.Thomas E. Marmo và Antoinette Marmo cho Brian P. Machos và Christine M. Machos, 40 Marlene Drive, 420.000 đô la.Thomas E. Marmo và Antoinette Marmo cho Brian P. Machos và Christine M. Machos, Marlene Drive, 29.000 đô la.Ngân hàng Wells Fargo đến Edward Smith, 201 Southwick St., $ 106.000.AmherstJamroth LLC, đến Henry Whitlock, ngõ 54 Pomeroy, $ 40.000.BelchertownJacque Kurkland và Pauline E. Stokes to Jill Hoover Attebury, 27 Bay Road, $ 241.000.Summer Hill Estates Development LLC, ��ến Peter Finn và Galina Finn, 111 Daniel Shays Highway, 285.000 đô la.BernardstonChristal L. Cutler cho Karen A. Kelly, 24 Harwood Drive, 210.000 đô la.Cánh đồngU S A Phát triển Nhà ở & Đô thị đến Kathryn Chicione, 116 Wales Road, $ 157.500.ChesterDuane Salvhus và Nancy J. Salvhus đến Michael Murray, 278 Tuyến đường 20, $ 30.000.William J. Thomas và Roberta M. Thomas đến Brookside Springs LLC, 14 Johnson Hill Road, $ 695.000.ChesterfieldDonald Joseph Bienvenue và Gina C. LaFlamme, luật sư thực tế, đến Thomas A. Osborne, 12 Willcutt Road, 40.000 đô la.ChicopeeAshley K. Shinkwin đến Dominic V. Alfano, 21 Overlook Drive, 194.000 đô la.Chicopee Acquisitions LLC, đến AGKMMT LLC, McKinstry Avenue, 67.500 đô la.Chicopee Acquisitions LLC, đến Amys Landscaping LLC, 420 McKinstry Ave., $ 202.500.Emery Street LLC, đến J & M Premier Properties LLC, 1-7 Emery St, $ 315.000.Partyka Partners Limited Partnership, Partyka GP Trust, ủy thác và Joan Partyka, ủy thác, đến Dwayne Pafumi, Robbins Road, 2.000 đô la.Eugene Skip Pula đến Jacob S Gardner, 10 Greenwood Terr, 139.200 USD.John P. Meroski đến Blanco Realty LLC, 26 Holland St., 150.000 đô la.Paul A. Lebeau, Paul E. Lebeau, Madeline A. Lebeau và Madeleine A. Lebeau đến Gene M. Desko, 36 Felix St., 129.900 USD.Premium Properties Inc., đến Reynaldo Santana và Joymarie Sierra-Lopez, 395 Chicopee St., 204.000 USD.Robert N. Dougherty, James Dougherty và Mary Dougherty cho Carleny Henriquez, 32 Walsh St., 255.000 đô la.Ruby Realty LLC, đến Dominique Properties LLC, 564-566 Springfield St., $ 190.000.Susan G. Enselek đến Teri A. Lee, 585 Sheridan St., Đơn vị 8, $ 188.000.Thomas M. Marshall Jr., đến Leonce Obas, 106 Taylor St., $ 235.000.Yelena Yefimiadi đến Amber Haywood, 90 McKinstry Ave., Đơn vị 305, $ 75.000.CummingtonJohn W. Campbell và Sharon L. Walker đến Donald M. Smith, Potash Hill Extension, 35.000 đô la.Đông LongmeadowCbatts Properties LLC, đến Chuck Ferros, 70 Fairview St., $ 245.000.D R Chestnut LLC, đến John Power và Maureen Power, 17 Vòng tròn rộng, $ 515.000.D R Chestnut LLC, đến Sharon Cohen và Eric Barker, 7 Ribbon Grass Lane, Đơn vị IV-17, 494.500 đô la.James M. Serra và Dale M. Serra cho Alex James Serra, 36 Fraser Drive, $ 320.000.Karen L. O hèConnor to Kathleen B. Kelly và Patrick M. Kelly, 55 Alpine Drive, $ 297.500.Hội trường Megan và Hội trường Gregory đến Chad P. Herrick và Christina Lee Herrick, 198 đường Road, 206.000 đô la.Mitchhdeep S. Sethi và Reema R. Sethi đến Quang Lưu và Giang Tran, 136 Allen St., $ 197,600.Quercus Properties LLC, đến Alohomora LLC, 264 North Main St., Đơn vị 12, $ 95.000.Đông thànhRebecca Lansky và Miriam Lansky đến Alexandra Sheskin Hurd và Paul Porto, 36 Grooween St., $ 315.000.Jesse D. Bemben và Moriah Elizabeth Wright đến Jessie E. Beland, 165 East St., 130.000 USD.Marguerite G. Belkin, Elisabeth Papademetriou, luật sư thực tế, đến Paula J.Gunn, 38 Adams St., $ 170.000.Mitchell J. Korn và Susan Korn đến Angie Montalvo-Greene, 41South St., $ 190.000.XóaDouglas A. Baker và Lawrence E. Giard cho Brian E. Frank và Anna Vdovichenko, 29 Ridge Road / Vòng nguyệt quế, 65.000 đô la.GranvilleKaren H. Schultz và Arline P. Schultz đến Timothy K. Derrig, 12 đường Borden Brook, 90.000 USD.Cánh đồng xanhSonya Kimberly Cheney và Daniel D. Garant đến Cristina Clark, 296 High St., $ 171.000.Luna L. Greenwood cho Emily Hildebrand và Benjamin Walker, 29 Woodleigh Ave., $ 220.000.Hà LanDishington Construction Inc., đến Keith M. Corey, 16 Vinton Road, $ 277.000.HolyokeAlex S. Engelson đến Joseph Greene và Wendi Greene, 100 Pearl St., $ 377.500.Diego Garcia và Ivelisse Colon-Garcia đến Marcos Marrero, Marcos Andres Marrero và Wanda M. Colon-Cartagena, 34 đường Pinehurst, 350.000 đô la.Homer R. Renaud đến Dawn M. Donahue và Homer R. Renaud, bất động sản cuộc sống, 26 Breton Lane, 100 đô la.Mary Ciuk, người được ủy thác và Martha E. Stewart Revocable Trust, người được ủy thác của Sean G. Kelly, 40 Sherwood Terrace, $ 190.000.Ronald P. Methe và John Grimaldi đến Amy E. Hutchins, 887 Homestead Ave., $ 223,000.LongmeadowJeffrey L.Kaufman và Mary Kraft đến Howard A. Dickstein và Julie A. Jaron, Đường 181 Prynnwood, $ 570.000.Robert C. Barkman và Dawn D. Barkman tới Ruixiu Lin, 10 đường Chatham, 375.000 USD.LudlowCheryl H. Reed để Denise K. Veroneau, Đơn vị 95 Chapin Greene, 95, $ 230.000.Donna Beaulieau và Donna Beaulieu đến Margaret E. Mayberry, 34 Carol St, $ 118.000.Michael J. Turgeon đến Monique L. Verteramo, 71 đường Woodside, $ 280.000.MPower Capital LLC, đến Jazmin Serrano, 115 Howard St., $ 194.000.Đức ôngAlice B. Konicki đến Irene St. Amand và Gerard J. St. Amand, 46 Palmer Road, Đơn vị 32, $ 288.500.Phát triển Nhà ở & Đô thị cho Michael Pelland, 6 Hilltop Drive, 146.500 đô la.Tiêu đề pháp lý Trust II Prof-2013-S3, ủy thác và Ngân hàng U S, ủy thác, cho Denali Properties LLC, 4 Fern Hill Road, $ 159,075.Giáo dụcSunny Chernyl, người được ủy thác và ban phước từ Thiên Chúa cho Niềm tin của người Do Thái, đến Caie MA, 107 Moser St., $ 515,888.Timothy G. Ryan, đại diện cá nhân, Stephen Grden, đại diện cá nhân và Michael T. Ryan, bất động sản, cho Claire Christopherson, 15 Sumner Ave., 271.000 đô la.James P. Krawczynski và John J. Krawczynski đến Sofia A. Frydman, Amy JoLee và Amy J. Lee, 18 Dickinson St., 335.000 đô la.Philip Geoffrey Allen đến Heather D. Connelly, 80-82 Williams St., $ 197.000.Roland Barbeito cho Jason C. Bolton và David J. Zellmer, 435 đường Florence, 382.000 đô la.Alex Vilkhovoy, người được ủy thác và AJ Capital Realty tin tưởng vào Christopher R. Blais và Jessica Blais, 6 Austin Circle, $ 239.900.Angeline C. Chereski và Angeline C. McWilliams đến Caitlin S. S. Martin, 104 Dunphy Drive, $ 253.000.Mark Esposito và Rachel Currie-Rubin đến Victoria Elson và Timmon Wallis, 137 Barrett St., 373.000 đô la.Daniel Breen và Anna G. Breen cho Rowan Lupton và Nicole Perez, 8 Dunphy Drive, 243.300 đô la.Stephanie J. Arvai đến Peter M. Levy và Madeleine Maguire, 68 Ridgewood sân thượng, 530.000 đô la.Richard J. Rubin và Colleen C. Currie cho Rachel J. Currie-Rubin và Mark J. Esposito, 203 State St., $ 415.000.James H. Wood III, đến David Rodriguez-Solas, 28 Graves Ave., $ 290.000.Sân phía bắcFannie Mae, bởi luật sư, Hiệp hội thế chấp quốc gia liên bang, bởi luật sư, và luật sư của Continental Real Services Services Inc., đến Gabriela Constantin, 754 Mount Hermon Station Road, 89.900 đô la.trái camAR Sandri Inc., đến Gary Barnett, 235 Hayden St., 50.000 đô la.Scott Savoy cho Michael D. Allen-Larhette và Kelly M.Melanson, 112 Cheney St., 175.000 đô la.PalmerJill Ann Laganas, Dean Alden McKee và Dawn Aileen McKee đến Kimberly E. Clarke và Theodore F. Clarke Jr., 42-44 South St., $ 156.000.Judy Bergdoll đến Jonathan E. Towne, 2142 Palmer Road, $ 247.500.Melissa K. O hèConnell cho Roger Parker, 12-16 Commercial St., $ 159.900.Roger W. Barnes cho Donald J. Potter và Brenda C. Potter, 198 Emery St., $ 320.000.Nam HadleyDavid A. Langone đến Kevin Haczyneki, 266 North Main St., 350.000 đô la.Bernice B. Strong to John Devlin và Barbra Devlin, 3 Strong Farm Estates, 3 Strong Farm Lane, 385.000 USD.Mario Valdebenito Rodas đến Ximena Vicuna Cubillos cho George E. Como, ủy thác và George E. Como Irrevocable Trust, 185 Pine Grove Drive, 233.000 đô la.Premier Home Builders Inc., đến Stephen P. Malanaphy Jr., và Christine M.Talamini, 62 Old Lyman Road, $ 359,900.SouthamptonElizabeth E. Lempke và David R. Lempke cho Daniel R. Breen và Anna G. Breen, 1 Birchwood Drive, $ 435.000.NamwickAnne S. Miller đến Mark F. Jerusik, Nancy A. Jerusik, Johnathan E. Jerusik và Abigayle S. Jerusik, 59 Miller Road, 295.000 USD.Laura I. Ferrentino và Laura I. Ronghi đến Robert E. Matthews III và Arielle Matthews, 94 Bungalow St., 200.000 USD.Marcia J. Pickard cho Richard S. Lempke và Angela Lempke, 18 đường Matthews, $ 265.000.Robert Hart và Lorraine Hart đến Adam Hart và Katie Ann Hart, 6 Cây thông Knoll, 350.000 đô la.Vanessa Filiault đến Wade R. Modestow, 75 South Loomis St., 210.000 đô la.SpringfieldA Plus Enterprises Inc., đến Allison M. Hanna và Brendan M. Hanna, 1730 Parker St., 200.500 đô la.Cơ quan Tài chính Nhà ở Massachusetts cho Gabriel Ortiz Jr., 29-31 Ralph St., $ 163.000.Amber C. Haywood và Eduardo Henrique Haywood (JR & O) đến Cynthia M Vives, 820 Roosevelt Ave ,. 146.300 đô la.Anthony Bourget đến Damaris Lopez-Robles, 17 Clantoy St., 165.000 đô la.Ngân hàng Mỹ đến Daniel T. Beauregard, 61 Bellwood Road, 146.000 đô la.Ngân hàng New York Mellon, ủy thác và Cwabs Inc. Chứng nhận tài sản được cấp lại 2005-9, ủy thác cho Travis Orszulak, 42 Peach St., 97.500 đô la.Ngân hàng New York Mellon, ủy thác và Cwabs Inc Chứng nhận tài sản sê-ri 2007-2, ủy thác của Michael Gardner, 9-11 Cloran St., $ 170.000.Blueline Management LLC, đến Matthew Byrnes và Samantha Deland, 336 Newhouse St., $ 203.000.Brendan M. Guidi đến Keith D. Anderson, 37 Crest St., 90.000 đô la.Bretta Construction LLC, đến Ruben Luna Rivera, 208 Gilbert Ave., $ 269.900.Buong Van Le đến Dinessa Figueroa, 245 Allen St., $ 170.000.Constance E. Allen và Robert Gould cho John Thomas Leydon, 22 Mary St., $ 149.000.Darrly O. Pollard, Bonita Oliver, Maria M. Cruz, đại diện, và Norman Wilson Oliver, bất động sản, đến Yveline M. Hulse và Clarence L. Hulse, 377 St James Ave., 164.900 đô la.Quận Capital LLC, đến Janet L. Franklin, 71 Peach St., $ 174.999.Djuan Barklow đến David Pujols, Bianca Pujols và Denisse Martinez, 170 Walnut St., 158.000 USD.Donald C. Bechard và Judith A. Bechard cho Karen O hèConnor, 185 Lower Beverly Hills, 180.000 đô la.Dulce Maria Garcia Vasquez và Dulce Maria Garcia đến Tyrie J. Pearson, 46 Parkside St., 153.000 USD.Emerald City Cho thuê LLC, đến Nicholas Benoit và Jaclyn Benoit, 23 Fairway Drive, $ 190.000.Emtay Inc., đến JJJ17 LLC, 29-31 Knox St., $ 110.000.Erik P. Ducharme đến Kevin P. Russell, 473 Nassau Drive, Đơn vị 473, $ 147.000.Georgina Roy đến Nelson Cruz-Resto, 162 Packard Ave., 177.000 USD.Glen D. Horrigan, Robin M. Horrigan và Robin M. Kimble đến Sandra K. Henry, 100 Eleanor Road, 150.000 đô la.Helder Nunes đến On The Mark LLC, 42-44 Virginia St., $ 120.000.Hồng Xuân Hang tới Vòng Hai LLC, 69 Crystal Ave., 83.500 đô la.John Martin đến Nydia Burgos, 191 Shawmut St., $ 162.000.Leo A. Duclos và Kimberly A. Duclos đến Janusz Lecko, 82 Jardine St., 55.000 đô la.Luis A. Diaz và Maritsa Rivera Diaz đến Aimee K. Lessard, 126 Fair Oak Road, $ 183,900.Mandi Chater, đại diện, đến Corey Gengenbach và Leslie Gengenbach, 82 Yorktown St., Đơn vị 82, $ 95.000.Marc V. Costanzi và Christine A. Costanzi đến Opus Durum LLC, Vòng tròn Breckwood 128-130, $ 185.000.Matthew J. Spence, Elizabeth R. Tetreault và Elizabeth R. Spence đến Châu Á Kenney, 623 Parker St., $ 170.000.Meg Realty LLC, đến Elizabeth Benitez Garcia, 50-52 Vermont St., $ 200.000.Michal S. Czerwinski và Damian S. Cieszkowski cho Claire Carter, 62 Washburn St., $ 259.000.Modesto Delgado đến Hector L. Marte, 45-47 Florence St., $ 175.000.Richard D. Baez và Dianilyz Baez đến Marzena K. Sochacka-Medina, 12 Danaher Circle, $ 181.000.Robert F. Connery đến Denise A. Mason, 151 Porter Lake Drive, Đơn vị 151, $ 98.000.Ruby Realty LLC, đến Juan Santana, 200 El Paso St., $ 100.000.Ruby Realty LLC, đến Manfred Karori và James Ndungu, 42 Emily St., 70.000 USD.Ryan J. McDowell cho Addison R. Brewer và Hannah A. Brewer, 380 Tinkham Road, $ 252.300.Sheila M. Grassetti, Sheila V. Grassetti, Daniel R. McDonald và Donna V. Nolan đến Lucky 13 Homes LLC, 49 Caseland St., 184.900 USD.Simone S. Carvalho đến Edward Perez, 202 đường Pasco, $ 186.000.Stephen Lonergan đến Kinda Leona Boyle, Parkway 120 S, $ 192.500.Stephen M. Nareau và Paula Nareau đến Madison L. Taylor và Austin W. Taylor, 1274 Berkshire Ave., $ 217.000.Timothy E. Cupp và Lindsey Cupp đến Patrick R. Inglesby, 754 Morgan Road, $ 245.000.Tommy Espinal đến Carolyn Morera và Harry Colon-Morera, 477 Wilbraham Road, 155.000 USD.Yarlene Sanchez đến Matthew Thomas Moylan và Pamela Vazquez Quezada, 36 Burns Ave., 220.000 USD.Xứ WalesCrystal L. Ryan và Crystal L. Pearlman cho David Michael Vanwagoner, 4 đường Monson, $ 171,796.JTL Construction LLC, đến Thomas Trafford, 2 đường Monson, $ 177.000.đồJNB bất động sản đầu tư Inc., đến Lizbeth DeJesus và Lizbeth De Jesus, 35-37 High St., $ 197.000.Tây SpringfieldThiên thần R. Villar và Ruth Villar cho Mark D. Hunter và Nancy Villar-Hunter, 615 Rogers Ave., $ 173.000.Christopher A. Nyman, Ashley L. Nyman và Ashley L. Armstrong cho Amina Asvandiyeva, 62 Paulson Drive, 240.000 đô la.Fannie Mae và Hiệp hội thế chấp quốc gia liên bang, đến Cig4 LLC, 243 Circle Drive, $ 145.000.Glenn M. Spadoni, đại diện, và Melissa Claire Spadoni, bất động sản, cho Henry F. Spadoni III, và Marnie Spadoni, 137 Squassick Road, 300.000 đô la.Ronald E. Lohnes đến Charles C. Cooley III, và Marci M. Cooley, 60 Neptune Ave., $ 208.000.Shannon Kumiega đến Jessica Diaz Campbell, 15 North St., $ 235.000.WestfieldBrent M. Chalmer đến Dominic Kirchner II, ủy thác và Eagle Crest Realty Trust, ủy thác của 158 Bates Road, 105.000 đô la.Jason D. Desclos và Evelyn Desclos cho Jorge G. Paredes Bermejo, 98 George St., 270.000 đô la.Lori L. LaPlante, Chester L. LaPlante và Chester Leo LaPlante đến Devon B. Hicks và Cassandra M. Hicks, 13 Montgomery St., 175.000 USD.Mahlon G. Cashman cho Paul W. Fisher và Susan M. Fisher, 482 Shaker Road, 343.000 đô la.Mary Ann Tatro đến Kyle A. Murphy, 43 Darby Drive, 205.000 đô la.Tăng A. Nash đến Craig B. Schacher, 26 Holland Ave., $ 260.000.Ruby Realty LLC, đến Luke Paull, 54 Beverly Drive, $ 169,900.Scott P. Martell cho Christopher A. Hunter và Chiara L. Bassett, 3 đường mỏ đá cũ, $ 195.000.WilbrahamDaniel T. Corthell và Tara G. Corthell cho Zachary Hudson Keaton, 8 Bruuer Ave., 304.000 đô la.Derek J. Chandonnet và Jamie E. Chandonnet đến Aidan Patrick Butler và Jamie Lynn Butler, 11 Woodland Dell Road, 410.000 USD.Joanne Ollis Robinson đến Michael J. Duquette và Nicole A. Duquette, 39 đường Bennett, 227.000 đô la.[ad_2] Nguồn

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FIONA APPLE - SHAMEIKA

[7.20]

Fetch the sidebar...

Tobi Tella: Fetch The Bolt Cutters was ascended to classic status by The Discourse as soon as it was released, and it doesn't surprise me that so many people find value, because Fiona's writing always functions on eight different layers of aware. What I connect with most about this is the self-awareness that Shameika probably truly could give less of a fuck about this petty middle school drama now, but the comment was so internalized that a whole song has stemmed from it decades later. Everyone has moments that are insignificant to everyone else that have informed your entire life and flare up constantly. The fact that the statement is encouraging makes it even sadder; negative comments feel designed to stick in your brain, but pumping yourself up with backhanded compliments given to your 12-year-old self is pathetic in a way most artists would never share with their listeners. [8]

Alex Clifton: A whirling hurricane of a piano line combined with doses of humour and emotion, jazzy and inventive and just plain fun to experience. We all have our own Shameika experience, buried deep -- some comment from another kid that definitely does not remember you now, as an adult, but the words stick forever. There's a really lovely tenderness in the way Apple recounts this memory, the fact that Shameika was never a friend, but bolstered her confidence in a way few others ever could. Small acts of kindness can go a long way, and that's a lovely nugget to remember these days. [10]

Katherine St Asaph: The Fiona Apple Discourse has arrived, maybe belatedly but inevitably, and as increasingly common my stance isn't any of the usual Am I The Asshole voting options. My stance: The Idler Wheel is Fiona Apple's masterpiece, the genius coronation should have happened then, and in happening belatedly it happened for an album that, while good, is lesser. It's not that nothing sounds like Fetch the Bolt Cutters, it's that people forget the stuff that sounds like it exists. (The artist most obviously musically influenced by Fiona Apple is Amanda Palmer, but the culture isn't ready for that conversation. Mostly.) "Shameika" is experimental perhaps, but more than that it's theatrical, like a dramatic monologue. Apple writes another runaway-calliope piano line, kin to "Left Alone" or "Fast As You Can," and structures musical cues and lyrical asides written as vaudeville -- on lines like "that just made the bullies worse," you can practically hear the spotlight and the phantom ba-dum-tish. She vamps, gives herself a Greek chorus, toward the end almost raps; there's the sense that she's just barely keeping up with the tempo and the clatter, a straightforward metaphor for the tempo and clatter inside her mind. Normally I love all these things and wouldn't mind millions more, so why does "Shameika" feel slightly lesser? Some of it is subjective -- I'm a cat person, so "my dog and my man and my music is my holy trinity" hits roughly the same way as "heckin' doggo." But some of it may not just be me. As Apple as a composer and vocalist has grown more freewheeling, less predictable, Apple as a lyricist has grown more didactic, not always for the better. This is most apparent on "Under the Table," but the bridge here does it, too, as does the titular Shameika, here to dispense affirmation. It's one thing for Apple to write about specific but anonymous men (see "this guy, what a guy") and something else when it's a named, likely black kid from middle school whom she barely remembered beyond a blessing that doesn't entirely sound like a compliment. Apple doesn't idealize her ("Shameika wasn't gentle and she wasn't my friend") or turn her into a reaction GIF (the memes, though...), but for an artist whose writing is usually hyper-meticulously examined, this feels a bit un-examined. One senses, palpably, another side to the story. [6]

Edward Okulicz: It's the Fiona Apple origin story! Well, it's a Fiona Apple origin story, as good a place as any to come to know this iteration of Fiona Apple. Her piano is, in isolation, a bit of a rollicking good time, and in context, like a rimshot trailing behind every word picture. They're good pictures too -- crunching leaves, the sound of a riding crop on her leg -- making "Shameika" a crisp, well-paced vignette. Google reports a 500 per cent increase in searches for "is the piano a percussion instrument or a stringed instrument" in the last month. [8]

Jacob Sujin Kuppermann: Fiona Apple's songwriting most commonly focuses solely on her own self-- or at most, her self and some invisible, off-stage figure of longing or derangement. So the strangeness of "Shameika" is in the way it hinges so much of its emotional weight on more coherent others-- the title character, who is defined solely in the context of Apple's reaction to her, but also Tony and Sebastian and her dog and her man. It's a strangeness that's not entirely productive. The way the track slows down and clangs around whenever Shameika gets brought up feels weighty and unproductive, especially given the chaotic grace with which Apple navigates the rest of the song. And at the end of it all, "Shameika" feels like a tokenized figure, not allowed to exist outside of Apple's grand cosmos of the self. It's still thrilling, but there's a certain hollowness at its center. [6]

Alfred Soto: To what degree listeners will accept -- never mind forgive -- the Magical Negro Dictum at work depends on how compelling they find Fiona Apple and Amy Aileen Wood's talent for playing drums as if it were a piano and how the chorus piano line hints at a cha-cha. If taken at face value, which I don't, "Shameika" depicts a teenage woman confronted by sundry opinions about her self-presentation. Everyone mentioned she assimilated as every artist must.Whatever else, Shameika or whoever was right about Apple's potential. [8]

Juana Giaimo: I listened to Fiona Apple's album only once. It was alright; I didn't not enjoy it, but neither did I love it. Listening to "Shameika" on its own is a whole different experience: it sounds unique, while on the tracklist it is just like another song. The changes of speed, her trembling voice and the sudden piano arrangements construct an organized mess in which every element is in a designated place. The surface is captivating, but I wish I could hear more than just that. [7]

Leah Isobel: Fiona constructs a rattling, screaming subway car of a song around a single moment of warm clarity. It's a little better as a meme than it is as a hook, but it works regardless. [8]

Ramzi Awn: The world might be ready for Fiona Apple to don her best Frank Zappa. Still, Apple's goofy composition falls short of exuberant. Her commitment to the off-kilter is welcome, but it is unclear what emotions the single aims to inspire. At times, it brings to mind Liz Phair's latter-day stabs at eccentricity. Music has no responsibility to be beautiful, but at its best, it connects the human dots of experience. I'm not sure what Fiona Apple has been experiencing, and I don't know if she is either. [3]

Jackie Powell: After the first drum roll, chaos ensues on "Shameika." Chaos and jitters are synonymous with a middle school experience, a time when young women become hormonal and just so damn difficult to deal with. I imagine Apple skipping and walking to school to only be thrust into the social hierarchy. It's degrading. I was also the kid "not chosen." Apple knows her audience and she portrays a moment in time that's felt deeply by only half of the characters involved. People enter our lives, impart simple yet profound wisdom, and then they disappear. The memories, depending on their delivery and timing, can stick like an epoxy. Apple accepts Shameika's rejection or indifference to friendship with the repeated line: "She got through to me and I'll never see her again." But when you are young, that idea of never seeing someone again sounds pessimistic. Both Apple and I refused to accept that reality in the moment. The last 20 seconds of the track, the bluesy bassline, and the saw-like distorted crackling illustrate how that one-sided moment felt inside. So thankful, but confused and empty. Does potential come with emptiness? When I first heard her album Fetch the Bolt Cutters, I immediately envisioned it as easily adaptable into a one-woman show on or off Broadway (whenever live performance comes back). "Shameika" is a monologue sung. [8]

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#Fiona Apple #pop #music #music review

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