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naomilores · 8 days ago

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2024: A Wild Year for Music

Perhaps the most memorable year for music in my adult life, even!

You probably saw a headline that more music came out daily in 2024, than was released in the entire YEAR of 1989. If you didn't keep up with it, I hope you'll enjoy some assorted thoughts and brief reviews of my Top 4, with much shorter blurbs about other releases I thought were excellent.

Albums of the Year

Charli XCX - BRAT

Genre: EDM, with a heavy slant towards pop music

For fans of: 100 gecs, Kim Petras

Now plenty has been said about Charli XCX this year, along with Chappel Roan and Sabrina Carpenter she's been brat-ing all over the place from Times Square to, probably, your TikTok feed. (This album has been so impactful, it's christened both a season, BRAT summer, as well as a color, BRAT green.) I've been a fan since 2017, with her instant-classic mixtape Pop 2. To me, Charli's always belonged to the underground world of hyperpop, at least until the genre blew up after Covid and suddenly she's on the main stage at Coachella in 2023.

Charli had a lot of early hits, and then, nothing. A total flop, which for a lot of artists spells the end of a career. But not Charli, instead of giving up or trying the same old formula that wasn't working, she innovated and did something completely new. She followed up her mixtape with How I'm Feeling Now, made up of these pulsing synths, crushed percussion and looped, sped up vocals. 4 years on it's still considered one of the great albums of her genre.

Her 2022 album Crash veered towards the mainstream and, by all accounts, played it safe. And as a result, it wasn't memorable, it failed to live up to her fan's expectations. It flopped. But her evolution continued. That's what makes BRAT so special, it took huge swings and really connected! Great art is deliberate, it takes tremendous work but also tremendous vulnerability.

Even on slower moments she's really bearing her soul, like on "I think about it all the time", where she's thinking about whether or not she wants kids, or "So I", which is a moving tribute to her friend and collaborator SOPHIE who is also dearly missed by many of us listeners.

The promotion of the album is also a lesson in viral marketing, the simple design of the cover was iconic, they even changed the other album covers to promote it! Her Boiler Room set is iconic and showed she's not just singing the songs, she made them. The Year of the Brat culminated in the SWEAT tour with Troye Sivan, which I went to! The show felt like the biggest, queerest nightclub I've ever seen, everyone decked out head-to-toe in BRAT green. And the showmanship was next-level, with a gigantic obelisk dropping down to reveal her at the start.

When I was walking out of the venue and heard the street drummers, it all felt like a high school pep rally, significantly more poppers, though.

A better reviewer than me asked: How many times does Charli XCX have to split an atom before we can just admit that she is the greatest working pop star? The utter dominance of BRAT suggests the time is now, but who knows where Charli will go from here?

If you liked this album, you should check out: Turn Off the Lights by Kim Petras, OIL OF EVERY PEARL'S UN-INSIDES by Sophie or Silent Shout by The Knife

Ana Lua Caiano - Vou Ficar neste Quadrado

Genre: Glitch pop, with roots in Portuguese folk music

Now for my American audience, stay with me, there's gonna be albums that aren't in English on here. I know that's scary, but we'll hold hands and get through it together, and there's some really good music on the other end of it all. I'll even translate the titles for you, this album is called "I'll Stay In This Square".

In her debut album, Ana Lua Caiano has a singular sound. Looping harmonies unfold over waves of chopped audio and percussion reminiscent of video games off of badly-scratched CDs. Just the texture of some of the instrumentation is a delight to the ear, like the clipping snares on "Os Meus Sapatos Não Tocam Nos Teus" (My Shoes Don't Touch Yours) the clicks on "Cansada" (Tired) or the double-tap of what sounds like a car locking on "Deixem O Morto Morrer" (Let the Dead Die). In her music videos, she also features traditional clothing, dances and culture from her country.

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She often takes the harmonies in a monotone, sticking on a single, repeating note to emphasize the melody. It's certainly not the standard third or fifth we hear in new releases, and it's another way this album is different. Also noteworthy, the interludes are kept to a minimum, and where we find them in the album they fit well within the context of the tracklist. The opening "Em Direção Ao Sul" (In the Direction of the Sun), features her humming over static and muffled conversations, and it's a solid foreshadowing of the sound to come.

There's many admirable aspects of Portuguese culture, such as their devotion to family, leisure & tradition. The Portuguese have been through hard times, including a brutal dictatorship that didn't end until 1974. It was a time where people were disappeared for speaking out against the government, and women had very few rights. For those who've visited or have family in Portugal, it's a fact of life that nothing changes quickly there.

Ana Lua Caiano is a young person in this society facing her culture's history, along with the judgement of others & the expectations young women continue to face in 2024. These form the box she's referring to in the title, the one she's decided to stay in, at least for now. She is grappling with wanting to uphold and respect old traditions, while also wanting to make music that's innovative and new. On the second point, she succeeds tremendously with her debut album.

In this stunning debut where old meets new, we find a hypnotic alchemy, something both new & special. And with only running 27 minutes, you have time to listen to it.

Willi Carlisle - Critterland

Genres: Americana, Singer-songwriter & a very long poem about being an outlaw

Hey, thanks for letting me talk about some non-English music. As a treat, let's discuss some good ol' Americana, Willi Carlisle's latest. There's been an encouraging trend in recent years of bluegrass' reclamation by progressive populism. The days of red solo cups & sexy tractors are waning, it's about damn time. Critterland is an earnest defense of what it actually means to be country: love of family, love of others, and the need to link arms as a community in hard times.

"Dry County Dust" talks about how he remembers his mom, and how he considers her death alongside his own near-death experiences. "The Great Depression" pays homage to the resilient spirit of Americans in the 1920's, and the many rights that were won by everyday people banding together. Two-Headed lamb moved me in a particular way, a song about the beauty of being 'born wrong', of having a life that is brief, but also beautiful and unique. He's confirmed this is a song written for the transgender people in his life, and almost immediately I had to add it to my playlist of songs that always make me cry.

The live show was also an emotional experience, full of comfort and warmth and a whole scrolling story of the Two-Headed Lamb. And Willi plays a damn good concertina.

And the music is full of lilting banjos, wailing fiddles and an assorted tableau of harmonicas, steel guitars and more. The choruses are earworms, and if you're not careful you'll find yourself yelling out "Take me to Critterland!" on the title track, or "Higher lonesome, kill the bitter parts of me," later on in the album. Great folk music does this, it makes music that's easy to remember.

In many ways it's anthemic for millennials, particularly "The Arrangements", which recounts his estrangement from his father, and how his feelings are complicated upon his death. Or "I Want No Children", which is the position of many now in our 30's. Especially "When the Pills Wear Off", a heartbreaking tribute to the friends he lost to addiction. And many of us millennials have lost friends to drugs, or are estranged from the family. Many of us feel tremendous pressure to have kids, but either don't want to give up our freedom or can't afford to raise them in an increasingly unequal economy. In just being himself, Willi Carlisle has made an album that encapsulates so many of our generational experiences.

Something else this album does that I just adore, is that it continues on the proud tradition of folk music to tell a good story. Specifically, on "The Money Grows on Trees", which is about a hippie-turned-criminal-mastermind, and his ensuing rise and fall alongisde a corrupt sheriff. At 7 minutes long it is a poem of epic lengths, interspersed with the repeated hymn of "Oh hippies, hillbillies won't you gather round, a good man murdered, a bad man drowned. The cops are all moonshiners now, but the money grows on trees, yeah, the money grows on trees". It reminds me of Johnny Cash's "Send a Picture of Mother" or Brad Paisley & Allison Krauss' song "Whiskey Lullaby". They're all horribly sad songs, but isn't the function of great art to make us feel?

More than just being a damn good album of music, Critterland marks a triumphant return to the true roots of country music. Before 2001, country music was famous for hating the government. Consider Waylon Jennings, Willie Nelson, the aforementioned Johnny Cash and more. But after 9/11, suddenly all the country singers love the government and are gonna put a boot up your ass if you disagree. But no longer is that the blueprint, guys like Sturgill Simpson, Tyler Childers and now Willi Carlisle have shown that rural people don't fit neatly into any mold or stereotype.

Tyler, The Creator - Chromakopia

Genres: Hip-hop, a whole lot more R&B than expected

Like many millennials, I've grown up with Tyler, The Creator. I was 17 when "Goblin" came out, and he was this loud, confrontational guy who was mainly here to shock people. His lyrics were smart, but they were also suuuuuuuuuuuper vulgar, and as a newly-rowdy teen escaping a conservative family, I was all about it. I spent a lot of time in 2012 walking around my small-town college campus with "Her" blasting in the headphones, hating my douchebag neighbors & my somehow-required-even-for-humanities geology class.

But then, at some point leading up to 2017, Tyler grew up. Suddenly he's detonating bombs onto the radio with singles like "See You Again" or his iconic "New Magic Wand". This is Tyler in his late 20's and he's mostly done with the shock jock persona and, by his own admission, trying to really get people to take him seriously as a musician. And he really succeeds! Flower Boy gets him nominated for a Grammy, and IGOR wins him his first.

If I had any criticism for Call Me If You Get Lost, it's that the album, for all it's hits, didn't feel cohesive the way IGOR did. But he's back with this release, it may even be his most cohesive work yet. Just for one example, look at the reprise from "St. Chroma" on the closing track. What really sticks out to me on CHROMAKOPIA is that he's talking about the things people my age (EARLY 30's, for the record) are often thinking/worrying about. Specifically, the question of whether or not to have kids. Millennial musicians in general are talking about it a lot in 2024, look at Charli XCX's "I think about it all the time". Tyler takes a few swings at it, on "Hey Jane" and the gorgeously-arranged "Tomorrow".

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Often, as young people, we know that our lives are finite, but it's not until we've lived a few decades that we begin to understand the extent to which our days are numbered. We realize we only have so much time to make certain decisions. This is why psychologists like Erik Erikson, who break a lifetime into different developmental stages, identify this time in life as a stage known as intimacy vs isolation. Can we share our lives with someone? Can we go on to share our lives with children, who we must take care of and make sacrifices for? Tyler's really tapped into this struggle, I found it relatable!

The backing tracks really groove throughout, especially on tracks like "Judge Judy" or "I Hope You Find Your Way Home". I'm thrilled to hear Tyler singing entire songs. I think it's criminal it took so long for that to be a key feature on his albums, he's a truly talented vocalist. It really feel like he's found his footing between making deeply personal hip-hop & punchy pop hits. Tyler makes great choices on features for this album, especially Daniel Ceasar who shines on "St. Chroma", and Doechii who kills on "Balloon". But look at the credits and the production team is a whole sky of stars: Steve Lacy, Donald Glover, WILLOW, Solange and more. Tyler should get a lot of credit not just for the musician he's matured into, but the producer he's become. He makes really deliberate choices with samples, on "Noid" it's an obscure Zambian psych rock song. Whereas on "Darling, I" he grabs the snaps off of Snoop Dogg's "Drop It Like It's Hot". Even the whistling into a full brass band on "Sticky" is a deliberate decision, a reference and a gift to HBCU marching bands, who have wasted no time in covering the song.

Tyler ultimately ascends to something higher in "Like Him", where he confronts his ambivalence around fatherhood. He grew up never knowing his father, and it gave him a lot of grief that he expressed in his music from the beginning. how he still sees himself in that idea. Add this all to his mom's voice featuring all over the album, he's really centering his thoughts about family in our modern times.

So what's the final takeaway on CHROMAKOPIA? Life is uncertain, and stressful, but we have to try and be present for as much of it as we can. We need to feel the whole spectrum of human emotion, the pain with the joy, because otherwise a life is missing many colors.

Honorable Mentions - Blurbs

Geordie Greep - The New Sound

Genres: Progressive Rock, with heavy notes of Jazz & Latin (including one of my personal favorites, Samba.)

When Black Midi split earlier this year, it was a sad time for many of us music nerds. But one of the best things to come from it is frontman Geordie Greep's solo debut, which is a delightful mix of jazz rock, avant-prog & features the lead single "Holy, Holy" about a guy who, on the surface, is effortlessly cool but is deeply insecure and paying a woman to have sex with him in a specific way. The term 'tour-de-force' is wildly overused, so I won't promulgate it further, but it's a lot of fun and worth checking out.

Beth Gibbons - Lives Outgrown

Genres: Chamber folk, of a notably psychedelic nature & at least 3 other subgenres

The former Portishead frontwoman has been away from the spotlight for a while now, her last album was in 2002. Lives Outgrown is similarly a chamber folk album, but it's full of delightful moments. I particularly enjoyed the plucking bass line in "Floating On a Moment" and her confrontation of mortality & love on "Lost Changes". All the songwriting that made Portishead great is present on this record, and I hope Beth Gibbons will be on the festival lineups next year here in the US.

Doechii - Alligator Bites Never Heal

Genres: Good ol' fashioned Hip-Hop, for your inner or outer diva

Doechii is yet another TikTok rapper who made it into the mainstream. But her talent has been undeniable for a long time now, and it's so refreshing to see her finally get the attention and accolades she deserves. There's plenty of great singles off of this album, including "NISSAN ULTIMA" is a song that makes me wonder, "who is this DIVA??" Otherwise there's "BOILED PEANUTS" or "DENIAL IS A RIVER", where she gives herself therapy and absolutely kills on some rhythmic breathing exercises mid-song. It's tremendous fun, and the album has next to 0 features, a crazy bold move in today's music industry, especially for a debut!

Liniker - CAJU

Genres: R&B, but it's from Brazil, and also really good

Liniker, formerly of Os Caramellows, shot to international fame after winning a Latin Grammy for her first album, Indigo Borboleta Anil. In some ways, CAJU is a continuation of the ideas she developed there, but there's a lot more intentionality in the production here. There's a sweet sentimentality to the songs on this record. Who doesn't love a love song, or one about longing? Brazilians are excellent writers when it comes to both topics (This is the home of Nara Leao, or Milton Nascimento, after all). Yes, it's another one of those scary, non-English albums, but perhaps you could jump in and see how the sounds make you feel?

Joey Valance & Brae - No Hands

Genres: Old-school hip-hop, a little Nerdcore, but a Nerdcore that is fun at parties & knows how to talk to girls

It's well-written, it's funny, it's taking the genre seriously as the duo has grown up and is getting away from being gimmicky rappers from TikTok. The stand-out to me is "OMNITRIX" which is dripping with confidence & humor, and it's also a song about how they don't wanna be underestimated and, much like Ben 10's Omnitrix, there's lots of things they can do. They're a real force for positive masculinity in hip-hop, so check it out!

Kendrick Lamar - GNX

Genres: West-coast hip-hop, music for guys who went to therapy and came back angrier

Kendrick has had a crazy year, his feud with Drake has been in the pop culture spotlight as countless publications declare "Not Like Us" to be Song of the Year. That was the highlight of the beef for many, but I always liked "Meet the Grahams" more. They say that to be loved is to be seen, and I think that's true. But sometimes, to be truly, deeply hated is to be seen, and Kendrick read Aubrey like a book. GNX doesn't quite reach the heights of some of his past releases, perhaps not even Mr. Morale, but it's a solid album. Kendrick is like pizza, I'm never gonna be mad when I see it's available. The "tv off" yell of MUSTAAAAAAAAAARD will probably live on for a while, and I adored the Luther sample as well, I hope he & SZA burn down those stadiums on next year's tour.

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iwanthermidnightz · 2 years ago

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https://www.avclub.com/taylor-swift-proved-didnt-need-relationship-midnights-1850323135?s=09

Hmm

“Taylor Swift has grown up and out of the "happily ever after" fairy tale era. Now it's time for fans to do the same.” (so true)

Don’t say Taylor Swift didn’t warn us. Fans whose parasocial ardor for the pop star surpasses perhaps any other idol on the planet were shell-shocked by the news that Swift had split from her boyfriend of six years, actor Joe Alwyn. Many are still stuck in the denial phase of grief, adamant that the news must not be true until they hear it straight from the source. In lieu of that, all we have to go on is the music—but her most recent work may offer some insight into the Grammy winner’s current attitude toward relationships.

In fairness to the Swifties, it’s no wonder that they’ve formed a certain attachment to Swift’s happily ever after. The singer built much of her own mythology on the backs of fairy tales and romantic fantasies. “Love Story” is the most notable example, but her oeuvre is littered with wedding imagery. Her lyrics are filled with heterosexual couples who run away together so that their love might thrive. Perhaps this is the reason that a certain contingent of Swifties became convinced that their icon was preparing to retire at the conclusion of The Eras Tour. She got her happy ending, so now it’s time to close the book, right?

But if we listen to her most recent album, Midnights, Swift is explicit that a relationship isn’t her priority, particularly a traditional “he kneeled to the ground and pulled out a ring…” kind of relationship. “All they keep asking me is if I’m gonna be your bride,” she complains on the album’s opening track “Lavender Haze,” dismissing out of hand “that 1950s shit they want from me.” Swift’s true priority, she explains again and again, is her work and her ambition. In “You’re On Your Own, Kid” and “Midnight Rain” she reiterates that she gave her “blood, sweat, and tears” for her career, and it’s always going to come first. Fame may be a prison, but it’s one she chose and will keep choosing. It seems like a message any fan or potential partner needs to understand. (that part)

Despite the fact that, from 1989 onward, Swift has been pretty honest about how difficult it is to be in a relationship with her, “sources” close to the couple allege that her most recent ex didn’t fully understand that message. “Joe has struggled with Taylor’s level of fame and the attention from the public,” an insider claimed to People. “They had plenty in common and fell in love in a safe bubble while she was retreating from the world during Reputation. Then the pandemic hit, and they were locked down together and able to continue growing their relationship in this insulated way. But he didn’t really ‘know’ her yet outside of that bubble.”

Perhaps Alwyn, like some of her fans, fell for the fantasy of the reclusive folk singer who was ready to give it all up and live by “The Lakes.” But the real Swift is the “mirrorball” and the “Mastermind.” Even in the quiet pause of the pandemic, she was still “Bejeweled,” ready to reclaim her throne as pop’s reigning princess at a moment’s notice. She once reflected that she felt “frozen at the age [I] got famous,” meaning most people still see her as the starry-eyed teen spinning romantic fairy tales. The true Taylor Swift is more complicated and more powerful as an adult, willing to own her ambition no matter what it costs her. Revisiting Midnights might help people understand that.

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winterrhayle · 1 year ago

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Ive been watching you and Bea go back and forth making each other rank Taylor albums and Im going to miss it SO MUCH Could you two rank the taylor swift tour videos please? I love looking at you guys' takes on things (even if yours are just complimenting every song and Bea is the one who knows how to actually criticise things 💀) love you guys <3 - an anonymous observer😉💗

TYSM :((((( SOBBING LY!!!!!!!!!!!!!!!!! @deprivedmusicaljunkie look we've been percieved ! anon ur slight diss at me for not being able to criticise things is KILLING ME HAHAHHAHAHA (ur right though)

okayy heres my tour ranking (note that there isnt an official tour video for red OR eras so this probs affects my ranking,,, more for red than eras bc i see eras content every single day online anyway)

speak now world tour - okay i may be biased because this is my favourite album,, but even if it wasnt this would be her best tour (in my opinion),, i feel like in her old concerts she was so theatrical, and parts of it kinda looked like a full broadway production,, also the iconic elements like the lyrics on the arm, also shout out to the live album recording of this bc i listen to it soooo much and its amazing and perfect and show stopping etc etc im literally gonna list a bunch of iconic moments right here: THE HAUNTED BELL, the fireworks during dear john, the koi fish guitar with the light up tree, the gold fringe dress (DROP EVERYTHING NOW) the ballgown, just the wholle thing is the best thing i have ever seen

eras tour - this tour actually is killing me with all of the nostalgia watching her sing through and acknowledge all of her old albums and past selves (except debut, rip😔). and i especially love all of the details from past concerts she has (like the fearless spins, the sparkly & koi guitars, the over head hand heart) and also the new visuals for existing tours (like the old taylors in glass cages for rep) AND the visuals for the albums that hadnt been toured before (lover, folklore, evermore, midnights) i just think that she really did her albums justice (again, apart from debut☠️) and its insane that the show is so long 3+ hours

reputation stadium tour - karyn the snake is the coolest thing ive ever seen. also the ready for it intro with the hooded bodysuit outfit is ICONIC,,, i love the choreo on this tour, like the part of i did something bad where taylor gets lifted up like a cheerleader (AHHHHHH) and i love the quiet long live / new years day moment on the piano,, its so nice

the red tour - like i said before, there isnt a tour movie for this one so i dont know as much about it, but i loveeee how fun it is, i love the ringleader outift and circus theme for the closing song, we are never ever getting back toghether (my favourite part of the show) and i love the unnecessary hairflips during all too well😭

the 1989 world tour - this tour feels like her biggest one (even though it isnt), its like the most pop artist thing ever, its less theatre-production like than any of her other tours and it feels less personal? that being said its obviously very iconic, im forever obsessed with the wildest dreams/enchanted mashup, and that one out of the woods bodysuit that she only wore once for some reason, + the FOREVER iconic rock version of wanegbt BUT THE WAY THE TOUR MOVIE IS EDITED IS SOOOO ANNOYING LIKE IT SWITCHES TO A DIFFERENT PERSPECTIVE EVERY 2 SECONDS😭 anyway i really do appreciate this tour bc taylor really did give it everything she had, and looking at the miss americana documentary, u can tell it was really hard to have put on that show with what she was going through

fearless tour - this is ranked last but i actually really like this one, its cute. her vocals werent as good as they are currently but idc because this show was so funny,, it had the iconicccc throwing of the red chairs in forever & always and shoudlve said no in the rain!!!!!!!!

#asks #anon #sorry for the late reply!!!!!#bea tag #<- kinda #taylor swift

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studioahead · 1 year ago

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Curator Spotlight: Natasha Boas

We’re ringing in the new year with a firecracker: one of our most hilarious, crazy features ever, an interview with Natasha Boas, whose sparkling wit is matched only by her taste in literature and chairs. You’ll have to read below to understand, but we’ll say now that this is a woman who was once Jacques Derrida's student and sat on his kitchen chairs in his apartment in Paris. A conversation with Boas, an independent scholar and curator (and thinker), had us traipsing all over the noosphere and our own backyard in San Francisco, where she became our tour guide to the hidden currents of a city we thought we knew well.

Studio AHEAD: In your home you have several towers of precariously stacked books. We’re going to name a few and would like you tell us the perfect chair/sofa/magic carpet on which to read them:

La honte (Annie Ernaux)

Natasha Boas: I have always been a huge fan of Ernaux’s and have read everything she has written in French, and then in 2022 she received the Nobel Prize in Literature so her novels are finally more available in English. La honte is about the shame a young woman experiences about her childhood and the woman she becomes. It’s autofiction, one of my favorite genres. I think I would suggest reading La honte on any Madame Récamier daybed—perhaps specifically on my antique nineteenth-century French iron folding bed. I grew up with it as my childhood bed and it has tiny wheels—when we once had an earthquake in San Francisco in the 1970s, I remember waking up having rolled across by bedroom from the garden corner to my fireplace.

SA: Specters of Marx (Jacques Derrida)

NB: For Derrida, the spirit or “ghost” of Marx was even more relevant after the fall of the Berlin Wall in 1989. This essay was the plenary address of "Whither Marxism?," a conference on the future of Marxism held at the University of California, Riverside in 1993. Derrida was my professor in Paris and a very modest man who would have wanted us to read his book on a simple kitchen chair—perhaps a Charlotte Perriand Bausch chair from the 50s that came secondhand with his humble apartment—where the caning is damaged and used and it is broken and somewhat imbalanced.

SA: Three Essays on the Theory of Sexuality (Sigmund Freud)

NB: This book contains the iconic essay in which Freud reveals his famous Oedipal theory among other things. It should be read in your mother’s lap—haha! No, it should be read on Freud’s divan couch of course! It may be the most famous couch in history and can be admired in Freud’s study in London at The Freud Museum at 20 Maresfield Gardens in the Hampstead neighborhood. The term “on the couch” became the euphemism for what psychiatrists do because of this very couch shaped like a chaise long with a Persian rug laid over it. Of course, I contributed to a fundraiser launched in 2013 to help reupholster the legendary couch. It seemed very important to me at the time.

SA: Leonora Carrington: The Story of the Last Egg (Leonora Carrington)

NB: This book is the accompanying catalogue to Gallery Wendi Norris’s 2019 exhibition of the same name in New York City. In addition to the show, the gallery hosted a two-day symposium on Carrington. It began with a dramatic reading of Leonora's play, titled Opus Siniestrus: The Story of the Last Egg, which in many ways predicts the dystopian situation of women’s reproductive rights today. My talk “The Leonora Carrington Effect: What We Can Learn from Leonora Carrington Today” became an essay for the book.

These ideas on the relevance of Carrington today resonated a year later at the Venice Biennale “Milk of Dreams” with its focus on Carrington and other historic Surrealist women artists. I wrote my dissertation years ago on this seminal modernist movement in art, which continues to influence my work. Currently, I have curated the exhibition on the post-Surrealist Gertrud Parker: The Possible at Marin MOCA, which includes Leonora Carrington, Leonor Fini, Alice Rahon and other influential Surrealist women. It is up through March 31 and I highly recommend a visit. It also features the famous Dynaton artists Luchita Hurtado, Wolfgang Paalen, and Gordon Onslow Ford, who convened in Inverness in west Marin County last century.

I think I would read The Story of the Egg on the bed that the Surrealist artist Max Ernst made for his wife, the artist Dorothea Tanning. It is said that she hated the bed and hid it out of view in the basement of their Provence house, but it is currently being shown on the top floor at a small regional Max Ernst museum in Seillans, near my family house in the Var, Cote d’Azur region. It’s a bizarre six-post structure with a mirror, green metal leaves, a faux brown fur bedspread and several circular paintings attached to it—but seems like the perfect bed for lounging on to read this provocative book.

SA: You are an expert on countercultures and in particular the Mission School. Is there anything you have learned from them—whether related to art or not—that you apply to how you interact, live in, go about San Francisco? This is of course a movement whose members reimagined what was around them.

NB: Yes, I have always been drawn to countercultures, alternative art movements, and under-recognized artists. What drew me to the Mission School artists was that it was an “affective” community—one based on shared sensitivities, a shared neighborhood, and friendships. Graffiti, studio painting and the San Francisco Art Institute were touch points for the group. In many ways I see this group of artists as a continuation of another SFAI group, the Rat Bastards Protective Association with Jay deFeo, Bruce and Jean Conner, Manuel Neri, and others. In fact, Ruby Neri, Manuel’s daughter, who was raised in Inverness and educated at SFAI, literally connects the two movements. I learned that there can be a correlation between street art and studio practice through her, Barry McGee, Alicia McCarthy, Chris Johanson, and Margaret Kilgallen.

These artists were not precious, they used simple materials often culled from garbage found in the city and they always included their friends’ work in their exhibitions, and they still do. That is very much the “Bay Way” of making art. It has influenced my way of curating too. I am not afraid of the heteroclitic or telling new stories. I just curated a show this fall: “Old Friends/New Friends” at Creativity Explored, which is a studio that supports neurodiverse artists or what we used to refer to in art history as “outsider artists” and the expanded Mission school artist community.

I grew up in SF in the 1970s. I even lived at the now defunct radical artist colony The Farm founded by the conceptual artist Bonnie Ora Sherk under what was then Army Street overpass and now Cesar Chavez. I worked at the Café Trieste in North Beach as a barista and served the likes of Allen Ginsburg. I read my poetry at City Lights Book Store and saw the Dead Kennedys perform at The Mabuhay Gardens. We were around when Harvey Milk was assassinated and when SFMOMA was on the fourth floor of the War Memorial Veterans building on Van Ness Avenue. This group of Mission School artists are my generation. We vibe on the same San Francisco history.

SA: I am curious as to what happens in your curation when you bring institutional outsiders inside the institution. Perhaps nothing happens. Perhaps it changes everything. Perhaps it ruins everything.

NB: In my experience—magic happens. But I have always taken risks—like bringing a trailer, which I bought with the Indigenous artist Brad Kahlhamer at an Arizona swap meet for a hundred dollars, into a museum gallery to create a nomadic studio space. We had to fumigate the trailer to make it museum compliant and we built out a proscenium so we could also use it as a stage for local Native performances. The exhibition was appropriately entitled SWAP MEET and played on all the valences of cultural exchange.

SA: You speak so much about San Francisco’s history, and so much has changed, that I wonder if counterculture is still possible in this city?

NB: Yes—it is always possible especially in our city with its cyclical history of boom and bust! There is always some kind of counterculture operating. We just need to ask “which culture is counterculture countering?” and then we can identify it. And we should always be brave enough to counter culture through the sub, the underground, the transversal. I just participated in a show at the Palais de Tokyo in Paris called The Termite Bites and it looked at artists who are practicing—literally and figuratively—below ground.

SA: We always ask the person interviewed how they came to California. We’ll pose this question to you with a twist. How did you come to California? And can you trace the history of how one piece of artwork that you own came into your possession here in California?

NB: My family came to SF from France in the late 1960s as part of a larger movement of young people seeking alternative lifestyles and new ideas—I was raised in a vibrant multicultural city and went to a French lycée and roamed freely around town on Muni. Later, I moved east for college and then lived and worked as a curator and professor in New York and Paris for over 20 years, when I returned back to the Bay to raise my family.

Most of my collection is from artists I have worked closely with over the years in all three places—either gifted or swapped. I am particularly attached to an Etel Adnan (1925-2021) Mount Tamalpais artwork I have from my time working with her in Paris. Adnan—who was born in Beirut, Lebanon, died in Paris, and lived an important part of her life with her life companion, the artist Simone Fattal in Sausalito—is a transnational link for me between my two homes and two cultures—in her case three cultures. Her poems and drawings in the book Journey to Mount Tamalpais speak to me the most; it has been re-edited recently by my friend Omar Berrada.

SA: Lastly, in the spirit of Guy Debord and the Situationists, if you were doing a dérive-style walk around San Francisco, where might it take you?

NB: My dérive would always lead me back to the Lyon street steps at Broadway. My friend Marc Zegans just published a book of poems about this important passage way in the city. Our SF was more of a village, pre-tech booms. I grew up and went to high school in Presidio Heights. It was very sleepy. We lived on those steps as teens, overlooking the bridge. We had our first kisses there, smoked our first joints, played the guitar, the city was ours.

Photos by Ekaterina Izmestieva

#Natasha Boas #studioahead #northern california

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rjtaylorsversion · 1 year ago

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1989 TV Impressions in Album Order (after a few listens)

welcome to New York - first listen sonically it sounded wildly different to me, and the intro still does, but I like it! It feels so crisp and clean, but still so fun. Perfect intro to 1989 as always.

blank space - similar consensus it sounded so different on first listen, and I’ll be honest I don’t love the new click sound, but the little giggle when she says nightmare is adorable. It’s a classic!

style - somehow this is the one that sonically feels the MOST different to me. The base line is heavier throughout than in the original, and the iconic electric guitar intro takes a bit more of a backseat. In the chorus her voice is more elevated above the music and sounds so crisp, I love that! Overall everything production wise sounds better IMO. To me it sounds just like it does when she sings it in the Eras Tour!

out of the woods - hearing the iconic intro “oh oh ohs” SO CRISP was mind blowing, it’s even better than the original, I will take no shit over this. OOTW TV is better than the OG. The bridge still goes just as hard, and the background vocals are heavenly.

all you had to do was stay - those super high “stay”s still slay for sure. This one sounds to me very much like its OG counterpart, the harmonies do seem better blended throughout though than in the OG and I love that you can hear all the layers of her voice!

shake it off - perfect as always! Even though this song was so overplayed once upon a time, Taylor’s Version is making me love it again!

I wish you would - another intro like style where the guitar intro seems to have been toned down slightly, which doesn’t sound bad, I just wish it was more forward! Other than that, very similar to OG, but still sonically clearer and better! The little synth in the pre-chorus towards the end is amazing.

bad blood - YESSSS. Still sounds so angsty, the “heys” are SO GOOD. I’ve still always loved the version with Kendrick the best, and I’m so glad they didn’t make us wait too long for that!

wildest dreams - this one has already been out for a while, and it’s always sounded good and very much like the OG!

how you get the girl - I’ve always freaking loved this one, and it doesn’t not disappoint. I love the poppy baseline just as much as I did when it first came out, the chorus still slaps 100%. And I love the little electronic synthy swoop additions we get on the second round of the end of the chorus, and her squeaky “yeah-ah-ah”

this love - this one has also been out for a while, but her vocals are stunning and I love when the drums kick in on the second verse!

I know places - oh my god the distortion on the intro “I—I—I”s is EVERYTHING. It sounds so freaking good. And the “WE RUUUUN” in the second chorus gives me literal chills. 10000/10 Taylor’s Version really gave us this one 100%. SHE ATE THIS ONE UP.

clean - the vocals are clear and sparkling, and the song is emotionally devastating us as it always did before. The layering of the harmonies and different voices is absolutely heavenly especially in the pre-chorus and chorus

wonderland - I have no words for how good this is. The same as I’ve said before on the other songs, the production is so clear and crisp and her voice sounds so mature and insanely good.

you are in love - one of my favorites from the OG deluxe version, I remember listening to this at night in my car as an 18 year old dreaming of a love like that, and being completely swept up in the lyricism and gentle melody of the song. TV brings back all those feelings and then some, especially now being married to the love of my life. This song is so freaking special to me. 🤍 the “ahhhhh ahh ahhhhh”s at the end of this song are angelic, especially with headphones!

new romantics - a certified BANGER as it has always been. Literally no notes, her voice is CRISP and the song is amazing.

vault tracks

slut! - I absolutely love the lyrics of this song, although I definitely expected a different vibe like everyone else I think. I love the color visualizations laid throughout and the laid back sound of the song in general. I like this song a lot, but it’s not my favorite of the vault songs’

say don’t go - the lyrical twin to all you had to was stay in my opinion, the flipped perspective. Love the use of the heavy baseline in the verses and pre-chorus while the chorus itself is more elevated. We also get the vocal echoes on “say….don’t….go” during the chorus and echoes on the bridge which sonically is very cohesive with 1989 as a whole!

now that we don’t talk - the hook is SO GOOD. I love the chorus, and I just in general love the feel of finally starting to feel yourself again after getting out of a relationship and realizing all the things that weren’t good about it. All in all, great addition to the album!

suburban legends - this song fits the sound of 1989 extremely well, but also somehow feels like it could be from Midnights? But I love the vocals especially on the chorus! I love the sparkly synth in this song too!

is it over now? - this is it, this is THE vault track. So far it looks like this is the fan favorite and I certainly don’t divert from that opinion. The LYRICS ARE GIVING and I am overall just obsessed with this. It sounds amazing and fits in the album perfectly, I can’t believe we didn’t get this on the OG album. “Let’s fast forward to 300 take out coffees later” has me in a chokehold as well as the “oH lord.” 18 years old of me would have had this on repeat in 2014, and 27 year old me is no different!

bonus

bad blood ft Kendrick Lamar - YES YES YES. it’s everything I wanted, I always loved this remix and it still gives everything. on repeat, nonstop.

If you made it through all of that, thanks for reading and share your thoughts/emotions/anything about 1989 TV below!

#1989 taylor's version #from the vault #taylornation #swifties #taylor swift #1989 era #1989 tv #Spotify

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youreonyourownkid · 1 year ago

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what do you think it's the most iconic tour outfit of each tour? Basically what's THE outfit you think of when you think of that tour. (+ which one do you think willl be the one for the eras tour).

ohh this is such a good question!!

i want to say this sparkly dress for the fearless tour but i guess the marching band outfit is up there too? but the silver sparkly reallyyyy takes it (i think there's two even and they both are just sooo fearless to me)

for speak now tour it HAS to be the purple dress.

for red tour it's definitely the ringmaster look (however the black and white outfit she had on for treacherous is one of my all time favorite tour looks of hers)

1989 tour wise i feel like i'm torn between any variation of the welcome to new york skirt/crop top/sparkly jacket look or the all white crop top & shorts with the black boots !! both v iconic to me

for reputation i think i want to say the rainbow dress? the other variations were cute too but the rainbow dress always just stood out to me. also maybe the sparkly green jacket over the bodysuit for the acoustic set <3 i have coveted that jacket since i first saw it

for eras tour i think it HAS to be the pink and blue lover bodysuit. maybe because i'm literally staring at it on the film poster but i think it's suchhh an iconic look (and will continue to be!!) (a couple of my faves though are the white folklore dress & odlr midnights bodysuit)

#asks #a-mercurialhigh

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littlequeen7 · 2 years ago

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I have barely any followers so I dont expect anybody to see this. But if there is any place to talk about my love for Taylor, it is here.

I've had a few people ask me why I love Taylor Swift so much. I understand why they ask, and why I might get weird looks, parasocial relationships and whatnot. But what they don't understand and what I have a hard time communicating is that Taylor is more than just music to me.

We grew up together. I'm five and a half years younger than her, so she completely shaped my adolescence. When Debut came out I was just starting the 6th grade, the grade when I learned some harsh lessons about bullying and friendships.

Fearless came out in the middle of 8th grade, the worst year of my life. That album was a comfort to me when everything else seemed hopeless. I had cut-outs from J-14 magazine plastered on my walls, of Taylor and the Jonas Brothers. I tried to convince my teacher that we should sing Fifteen at our 8th grade graduation (I lost that one).

Speak Now came out when I was 15, and I listened to that album until every word was ingrained in my brain. My older cousin bought us tickets to her Speak Now tour for my birthday, and she was my first ever big concert. We drew 13's on the back of our hands and screamed along with her while she sang Mean barefoot, while she hit giant bells during Haunted (my favorite song at the time), while she floated over the crowd on her balcony in her Love Story outfit right in front of us, close enough I thought if I reached out I could touch her. I don't remember which cover she sang, but she did it in her purple dress, with sharpie scrawled across her arms. I took so many blurry and grainy photos of her that day. Speak Now will always have a very special place in my heart.

Red came out when I was 17. I learned through one of her diary entries that she had actually written the song Red on the flight home from our concert. To think that I saw her not even 24 hours before she wrote one of the most iconic songs of her career was mind blowing. I was dating now, so all of the songs about relationships became relatable for the first time. I knew from the moment I heard it that All Too Well was the best song of her career, and I have some obnoxious Facebook posts to prove it. The Last Time became one of my favorite songs she had ever made. Flash forward 5 years and I was posting 22 on my Facebook the minute it hit midnight. (Yes, Facebook. I'm old and uncool, we've established that already.)

1989 came out the year after I graduated high school. I was on my own for the first time, completely unprepared and immature, with a toxic partner who I ended up staying with for 5 years. I still have distinct memories of riding the bus past the WWU campus on my way to work, blasting the album in my headphones. I was in my semi-popular Lana Del Rey Tumblr days then, and you best believe I was making gifsets of the Blank Space music video. These were also the years when I sank into my deepest depression. 1989 was a bright light in that darkness.

Reputation came out when I was actually 22, right after leaving the five year relationship, and leaving everything I owned behind me or in storage, while my ex took my two beloved cats. This was my revenge era, my short lived "hoe phase" if you will. I remember listening to it for the first time in the car with my mom while driving to Seattle. I remember listening to it in the kitchen with my then 11 year old sister, and her saying "well that's inappropriate" during one of the songs (probably Dress). I was a little too harsh when I said, "well she's a grown adult, shes writing for herself, not writing for kids." What a brat. I specifically remember one Tumblr post from a fan that went to the Secret Sessions, of her gasping and saying "Taylor!" in a scandalized way during one of the songs (my guess is, again, Dress) and Taylor replying something along the lines of "I know, right!" To this day, Reputation is the album I have the most fun listening to, and the one I blast the loudest in the car.

Lover came out when I was 24, living in a small room without a door in my Grandma's house that doubled as her office. This was the no privacy era and it did NOT slay. This was also the era that I was in love with someone I shouldn't have been (you play stupid games, you win stupid prizes). Every love song on that album was dedicated to him. False God became a new favorite. This was the time right before it all fell apart, when the entire world shut down and I hurt people and was hurt myself (again, stupid prizes).

Folklore came out in the midst of being completely isolated from the world, except being dropped off at work every day and trying to go to college online. The beginning of my severe and debilitating germaphobia. The constant fear that I would catch COVID from my irresponsible coworkers. Not to mention, my heart was ripped open because I was August, and she was Betty. This album, I think, is the one where I couldn't deny the similarities to my own situation. It felt like it was meant for me, in that moment. Seven was for the little me that died when I was young. This Is Me Trying was a letter to my loved ones, when I couldn't explain that my brain was actively trying to kill me. I've only listened to Hoax twice, because that one is the most painful. I was the epitome of "I can go anywhere I want, anywhere I want, just not home."

Evermore, bless it's heart, came out of nowhere and was an amazing surprise. That being said (Ryan Bergara voice), Tolerate It, Happiness, Ivy, Long Story Short, Closure, Evermore and Right Where You Left Me were a twist in the knife of a trauma that wouldn't leave me, no matter how hard I tried. I was out on my own, truly alone, for the first time in my life. And I was terrified that, like Taylor said, this pain would be forevermore.

The re-records were amazing. I was so proud of Taylor for sticking up for herself and challenging the leeches that had gotten rich off of her talent. The moment she hinted at the 10 minute version on social media, I flipped my shit. Again, I have Facebook posts to prove it lol. I memorized the new verses in a day, I listened to it on repeat for weeks. I was staying at an airbnb the day Red TV came out, and I spent that night dancing around the kitchen with my headphones on.

And now... Midnights. I'm 27 now, and by this point I've lived a thousand different lifetimes. I listened to it in my dorm room alone, with my headphones on the second it was released. And then for good measure, I listened to it again the second the 3 AM version came out. I always need the second listen, to really soak up and understand an album. I made a bracket tournament thingie of all of the songs, and at first Vigilante Shit won, but after a couple more listens, Karma replaced it in the top spot. I listened to this album so much, on repeat constantly, that even though it was released in October, every single song made it to my Spotify Wrapped (not to mention the fact that I was in the top 2% of TS listeners). I was lucky enough to score tickets to the Era's tour, after much anxiety and freaking out from crashing websites and delayed sales. I screamed as soon as it was confirmed. Things have been rough, especially in the last month or so. One of the only things keeping me hopeful is the fact that in 4 months, I will get to see one of my favorite people in concert again.

That's not to mention the merch over the years. A Speak Now Tour shirt, notebooks and posters with Taylor's face on them, two signed CD's, a Red cardigan, a "fuck the patriarchy" keychain, The Scarf, and a few (not as many as I'd like) vinyls. I'm still pissed that my 1989 CD with the polaroids is lost somewhere in my storage unit.

At this point, if anyone is reading this, which I doubt they will, and especially if they have read this far (I'm sorry this post turned into a monster), they're probably thinking that I am a weirdly obsessed fan. Someone who thinks that someone they've never met in person is their BFF. I don't think I'm either of those things, but Taylor Swift has, and always will be a comfort to me. Especially as a neurodivergent person, having just ONE person who has been consistent for most of my life, someone who I can look up to and learn from, music I can listen to and immediately be comforted, is essential. At this point, now that I really think about it, Taylor Swift really is one of my special interests, and she has been long before I even knew that special interests were a thing (late diagnosed).

On top of all of this, she is just a genuinely good and kind person. You don't see that super often, in this cut throat industry. She is someone to look up to, even if Dear Reader says otherwise.

I've been writing this for about half an hour, and my phone is shaking from holding it above my head while I lay in bed and type. If literally anyone gets this far in the post, thanks for reading my weird diary entry I guess lol. Above all else, this is really a love letter to Taylor. Thank you for being there for me through it all.

#taylor swift #taylornation #tswift #midnights #evermore #folklore #lover #reputation #1989 #red tv #speak now #fearless #taylor swift debut #the eras tour #speak now tour

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cowboyslikeme · 1 year ago

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Top 3 songs from each of Taylor's albums, and thoughts on them?

ohhh anon great question to put me out of my boredom thank u so much! i'll try writing some of my thoughts without being tiring.

ask me anything pals!

debut: cold as you, tim mcgraw and shouldve said no. i think all 3 of them are incredible songs. cold as you for me in top 5 in her discography overall because its so relatable, painfully cynical it's healing. a masterpiece.

fearless: fearless, you're not sorry and forever and always as of now, i think my fearless top 3 variates but there isn't a best song to sing in the car to than fearless. fearless is a state of mind tbh, an iconic song.

speak now: sparks fly, last kiss, haunted. idk man, those songs aren't songs they are feelings. especially sparks fly, i love this song with my whole heart definitely top 5 in taylor's discography as well.

red: treacherous, ikywt, all too well/red. it's hard to narrow down my favorite songs off of my favorite album, a top 5 would be easier. but one thing i know is that treacherous is the most beautiful, breathtaking song i've ever listened to. the after chorus production deserves a grammy itself. also ikywt is a 10/10 pop song which introduced me to taylor and it doesnt get the respect it deserves! red is just more of an emotion rather than a song as well, it gave its name to the record, it resperents a blessed era, i love it with all my heart

1989: wonderland, i know places, style. the whole album is just a masterpiece but wonderland is just beyond that. song that sweeps me off my feet in every sense, it's amazing. painfully underrated, i was shocked she remembered it at the eras tour tbh.

rep: dont blame me, i did something bad, delicate. dont blame me song of all time. she had probably met jesus before writing it bc i dont know where she found this inspiration to create such a masterpiece.

lover: false god, cruel summer, afterglow. false god is just that good!!!! the saxophone is the end of me, everything about this song is just so good! up there with the best on her discography for sure.

folklore: exile, seven, illicit affairs. its hard for me to rank folklore too but exile is insanely good. the lyrics??? hello??? you were my town now im on exile seeing you out? 10/10 im a bitch for that song

evermore: tis the damn season, cowboy like me, right where you left me. life changing songs. just that. i cant say anything else, they all altered my brain chemistry. evermore is her best storytelling work and those songs are not just songs they are books, movies, music videos, poems all at the same time.

midnights: maroon, the great war, high infidelity. midnights is a great album ok. maroon is the album's queen and then there are some songs that exist to remind you how good of an album midnights is.

#this took me ages #literally 30 mins #anonymous #answered #if u dare tell me urs too

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sheetmusiclibrarypdf · 1 month ago

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Remembering Tina Turner (1939-2023)

Remembering Tina Turner (1939-2023)Tina Turner (short bio)Best Sheet Music download from our Library.Please, subscribe to our Library.Tina Turner's 10 best songs and the stories behind them1. River Deep, Mountain High (1966)2. Proud Mary (1971)3. Nutbush City Limits (1973)4. Let's Stay Together (1983)5. What's Love Got to Do With It (1984)6. Private Dancer (1984)7. We Don't Need Another Hero (1985)8. The Best (1989)9. Steamy Windows (1989)10. GoldenEye (1995)Browse in the Library:

Remembering Tina Turner (1939-2023)

Tina Turner (short bio)

Tina Turner (November 26, 1939, Brownsville, Tennessee - May 24, 2023, Küsnacht, Zurich) was one of the most legendary figures in 20th century music. Dancer, singer and songwriter, she was nicknamed The Acid Queen and The Queen of Rock & Roll. With a brilliant career of success that spanned four decades, from the sixties to the two thousand, he always stood out for his magnetic presence on stage, his very powerful voice and his tremendous energy.

She was born Anna Mae Bullock in a small Tennessee town, Nutbush (to which she would dedicate the song Nutbush City Limit ). His parents were African-American and, on his mother's side, he had ancestry from the indigenous peoples of North America, Cherokee and Navajo. As he recounted in his autobiography, his father was a violent man and given to drink. His mother separated from him when he was eleven years old, and together with his older sister, Ruby, they went to live with her in the city of St. Louis, in Missouri. He soon showed his aptitude for music in the choir of the local Baptist church. After graduating from high school, she began working as a nursing assistant, while also beginning to sing in St. Louis' African-American nightclubs. In 1958, she was discovered at the Manhattan Club by Ike Turner , who signed her to his group Kings of Rhythm . Ike was already a well-known Soul composer and performer by then. At that time, she had her first child with the saxophonist Raymond Hill, at the age of nineteen, although their relationship did not bear fruit.

She would be attached to Ike , who would become her husband in 1962, vitally and professionally, for fifteen years, which saw her rise to stardom, but also constant physical abuse. At the suggestion of Juggy Murray , president of the independent R&B label Sue Records, she artistically renamed herself Tina Turner . Like Ike & Tina Turner , they had several hits in the 60s such as A fool in love , I idolize you or Tra La La La La . In 1965, iconic producer Phil Spector saw them perform, and was fascinated by Tina's voice. He insisted on recording a song with her. Ike , who insisted on controlling every aspect of his career, refused at first, and only accepted when Spector paid him $20,000. The result of that session was the song River Deep, Mountain High , which, although it did not obtain much commercial success at the time, would end up becoming a classic in Tina 's repertoire and, according to Spector , her greatest achievement. In 1969, Ike & Tina shared a US tour with The Rolling Stones , and appeared with them in the famous documentary Gimme Shelter . Mick Jagger , Keith Richards and Tina became very good friends. In the early '70s, the Turner duo had their biggest commercial success with their cover of Proud Mary single , a Creedence Clearwater Revival . Likewise, Tina had a memorable appearance in the musical Tommy as “The Acid Queen.” That moment of professional splendor was accompanied by the collapse of his marriage. Ike Turner had increasingly aggressive and erratic behavior due to his cocaine addiction. Tina attempted suicide on more than one occasion. Finally, after a brutal beating in a Dallas hotel in July 1976, she left him and filed for divorce. Ike initially refused to grant it, and the legal battle lasted for two years, until 1978. Tina agreed, to settle the dispute, to pay the debts that Ike had accumulated , she kept custody of the son he had had with her ex-husband, Ronald and, in addition, she adopted the two children that he had fathered with other women, Ike Jr. and Michael.

During the early 1980s, he seemed a forgotten figure, until the musical renaissance that came with the album Private Dancer 1984 , which was produced, among others, by David Bowie and Mark Knopfler , and which represented his greatest success. his career. Thanks to singles such as the title track, What's Love Got to Do With It or Better Be Good to Me , it sold five million units. The following year, she appeared as the villain in the film Mad Max: Beyond Thunderdome and sang the theme song for its soundtrack, We Don't Need Another Hero , which also topped the charts. from all over the world. His success continued throughout the eighties, with albums such as Break Every Rule (1986) and Foreign Affair (1988), while he went on several world concert tours. was released In 1993, the biopic Tina , where she was played by Angela Bassett, while Ike had the face of Laurence Fishburne . Both were nominated for Oscars for their roles. Among his latest hits, the main theme of the James Bond 1995 film, GoldenEye , stands out . In 1999, he released his last album, Twenty Four Seven , to say goodbye to music with a final world tour in 2000, which is remembered as one of the most massive in history. In 2008 she came out of retirement to collaborate on the Joni Mitchell tribute album , River: The Joni Letters , performing the song Edith and the Kingpin . The album won a Grammy. Since 1986, she was romantically linked to the German music producer, Erwin Bach . Together they lived in Los Angeles, Paris and, finally, in Switzerland, the country whose nationality they adopted after marrying in 2013. Religiously, she was raised in the faith of the Southern Baptist Church in the United States. In the mid-70s, through a friend, she discovered Buddhism. As she recounted in her autobiography, Buddhism had a crucial importance in her professional and personal rebirth, after the traumatic end of her relationship with Ike Turner. about her life was released In 2018, the musical Tina , which has been performed in various countries. In her final years, she began to suffer a series of health problems, and in 2017 she underwent surgery to receive a kidney transplant (donated by her husband). In 2023, his death was announced, after suffering from cancer for several years and suffering a stroke. “With her, the world loses a music legend and a role model,” indicated the statement from her representative who broke the news.

Tina Turner's 10 best songs and the stories behind them

1. River Deep, Mountain High (1966) In 1960, Tina found success with Ike and created one of pop music's masterpieces six years later, when producer Phil Spector approached her about working with her. Although the song was credited to the duo, Spector did not want Ike to control the work in the recording studio, so he paid him not to go. https://www.youtube.com/watch?v=e9Lehkou2Do Tina was happy to work with someone else. He was surprised to discover that the producer had assembled an orchestra and a choir to create his famous "wall of sound." "She was just a girl from Tennessee who caught up with Ike and became a singer," Tina Turner wrote in her autobiography. "I've never, ever seen anything like it, except in a movie." The song peaked at number three on the UK charts, but flopped in the US. Radio DJs said the song "wasn't 'black' enough to be rhythm and blues nor white enough to be 'pop.'" 2. Proud Mary (1971) After this country-rock song was a hit for Credence Clearwater Revival in 1969, Ike and Tina transformed it into an explosive, epic funk ode to freedom. Tina began her presentation with sensual messages and then exploded with her exuberant voice, in a show that impressed music fans in the United States. It reached number four on the Billboard chart and won a Grammy Award. Beyoncé chose to perform this song when she paid tribute to Tina at the Kennedy Center Honors in 2005. Three years later, they sang it as a duet at the Grammy Awards. https://youtu.be/hzQnPz6TpGc?feature=shared 3. Nutbush City Limits (1973) Tina immortalized her hometown with the lyrics of this song. The cheerful melody was a nostalgic memory of his disturbing childhood, during which he spent some time picking cotton. "You go to the country on weekdays/and have a picnic on Labor Day." Three years later, Tina left Ike after suffering abuse for years, risking her entire career. https://www.youtube.com/watch?v=I07249JX8w4 4. Let's Stay Together (1983) Tina had to start over and rebuild herself as a solo artist. The crucial moment in that comeback, which would lead to even greater success, came when she met two members of the English electro-pop group Heaven 17. Martyn Ware and Glenn Gregory were looking for a singer for a covers album for their British Electric Foundation project and Tina did not have a record contract. When he entered the Abbey Road studios, there were no other musicians. "Where's the band?" she asked, expecting a Phil Spector-style orchestra. But this time the music would be made with synthesizers. First, they recorded Ball of Confusion The Temptations' , then Al Green's Let's Stay Together , which became their first UK Top 10 hit in a decade. https://www.youtube.com/watch?v=4rFB4nj_GRc 5. What's Love Got to Do With It (1984) Turner established himself as a solo artist with this song written by Terry Britten and Graham Lyle, which had previously been offered to Cliff Richard, Donna Summer and Bucks Fizz. Tina didn't initially like it either, as it seemed too light. However, he agreed to record it if he could do it his way, "with strength, with gravity and pure emotion." Her sexy and defiant performance worked, accompanied by a music video that showed her walking the streets of New York. This song gave Turner his only number one in the United States and won a Grammy. At 44 years old, she became the oldest woman at that time to have a single reach first place on the charts in the United States. https://www.youtube.com/watch?v=oGpFcHTxjZs 6. Private Dancer (1984) https://www.youtube.com/watch?v=d4QnalIHlVc This song was first recorded by Dire Straits and was written by Mark Knopfler, the band's leader, who considered that the song could not be performed by a male voice. Tina later said in an interview that she hadn't realized the song was about a sex worker. "I never had to stoop to that in my life," he wrote in his autobiography. "But I think most of us have been in situations where we've had to sell ourselves, in one way or another." "When I gave myself to Ike, when I kept quiet to avoid an argument, when I stayed with him despite the desire to leave. That's what I was thinking when I sang the song, the sadness of doing something you don't want, day after day. "It's very emotional." 7. We Don't Need Another Hero (1985) It is another song written by Britten and Lyle. The theme and Tina herself appeared in the Mel Gibson film Mad Max : Beyond Thunderdome. As a classic '80s power ballad, the lyrics resonated with the desolation of the film's post-apocalyptic world. Turner appeared in the video as the character Aunty Entity, who she said she connected with because she was "strong and resilient." "She lost so much and then went through so much to get the men in her world to respect her," Turner said. "I identified with their struggles because I lived them." The song was another hit: it reached number two in the United States and won a Grammy nomination and an Ivor Novello Award. https://www.youtube.com/watch?v=Gcm-tOGiva0 8. The Best (1989) https://www.youtube.com/watch?v=GC5E8ie2pdM It was originally written for Bonnie Tyler, but was only a minor hit for the Welsh singer in 1988. A year later, Tina added some vocal power and new soft rock production, and made it one of her signature songs, one of the defining anthems of the decade. The song is often mistakenly called Simply The Best , a line from its famous chorus. She has appeared in numerous advertisements over the years, including one for Pepsi with Turner herself. It was also used to promote rugby league in Australia.

9. Steamy Windows (1989)

It appeared on Turner's 1989 album Foreign Affair. The lyrics left listeners in little doubt about what was happening in the backseat. It was another empowering and feminist song from Turner, about taking the initiative in a sexual encounter. Music Week described it at the time as "a delightfully sassy number" with "naughty guitar runs." https://www.youtube.com/watch?v=e04pzNwIqU8 10. GoldenEye (1995) Singing a James Bond theme is a milestone for any artist. Following the success of What's Love Got to Do With It , Tina's Oscar-nominated 1993 biopic, Bond producers tapped her for Pierce Brosnan's debut as Agent 007. The GoldenEye theme was composed by Bono and The Edge of U2.

https://www.youtube.com/watch?v=3cMRI3k7TXc Tina Turner discography Ike & Tina Turner discography List of songs written by Tina Turner List of awards and nominations received by Tina Turner Read the full article

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thisselflovecamebacktome · 1 year ago

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I went to Eras last friday and wow!!!!!! I can't believe i actually did it!!! Like is so magical and everything that i dreamed. I think the part that really got me was Fearless and Speak Now set cause that feels like such a long time ago and something i didn't get to experience live so hearing Love Story made my 13 year old self day lol i love that she does things that were iconic moments during those eras (the heart with her hands and the guittar twist and when she lifts the guittar up) during these sets, it really feels like for a few seconds we are all in the Fearless/Speak Now tour.

But also during Lover speech when she said "i wrote these songs about my life but after tonight i hope you think about the memories you made in this stadium", it's exectly IT, i'll never listen to Taylor's discography the same way. Lover is a love song but during the show i was crying so hard and hugging my 3 best friends singing "can we always be this close, forever and ever" and that's all that i think about when i remember Lover.

I also cried like a baby during Enchanted and Long Live, SN was the first album i heard fully (i only knew the hits form Fearless) in 2011 and i was obsessed over Speak Now Tour movie so it was so beautiful listening the songs finally after 12 years. Plus, she gave me Innocent (and i tell everyone she was singing just for me in that stadium, idc)

Folklore is my baby and singing "DONT CALL ME KID, DONT CALL ME BABY" changed me forever

But the most fun set was 1989, my friends and i met in 2014 so 1989 was THE album during HS, so dancing the same way we used to dance when we were teenagers was a magical thing.

But Rep was fun too but for some reason felt so short.

Anyway i loved all the sets but this is already too long. 12 years waiting for this moment and i felt so included in the past, in everything i didn't get to see. I can't waint to for you to experience this live too.

I'm so happy for you! Also another Invisible String for us is that Innocent was perhaps my biggest loss this tour (with her resetting perhaps I will still get it, but I imagine with my show being one of the first 10 for 2024, she'll mostly still be doing stuff she hasn't done yet), so I wish so badly that I was there with you, but if anyone else was going to get it I'm glad it was you! 💜

For personal reasons, Illicit Affairs is also one that I'm most excited for. Like at the moment, the list of songs I'm expecting to love/feel most (because I relate to them most atm) are The Archer, Champagne Problems, ATW10MV, August, Illicit Affairs, Vigilante Shit and of course the surprise songs, but of course I'm excited for it all!

Anyway again, I'm so glad you had a good time. You deserved it so much! 💜

#taylor swift

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notebookmusical · 1 year ago

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Happy Halloween!!! I love you and your dog's costumes! They're so cute..lol I can't remember the last time I dressed up for Halloween, but I might carve a pumpkin later tonight and watch more movies. Are you doing anything fun? I watched a few movies but they were more like campy and from the 80s. I don't really do scary besides some Stephen King movies, but I might watch the Haunting of Venice which I think is on Hulu now. I was saving movies as it got closer to Halloween but I usually let it last the whole week anyway. I have seen both Happy Death Day movies and enjoyed them. One of the movies on my list is called Totally Killer, and it actually seems sort of similar to Happy Death Day actually. There's also a new Haunted Mansion movie and Hocus Pocus 2, which I haven't watched yet, so that's on my list.

The prove it part is so fun and iconic! Although at my show, I don't think she said that. Was that the version that was in the movie too? Yes for Speak Now, it was a lot more theatrical cuz it really had props and a set and it almost felt like a continued story..like she interrupted the wedding but then turned into a princess and got her happy ending. It also had some of the best costumes and really felt like she was telling you her story on stage just like a musical. I wish I could have gone to that tour..or any of her tours. I've only been to rep and eras even though I've loved her from the beginning. All of her tours seem to fit the era at the time and just get better and better!

I hope you have a good time seeing Hadestown this weekend and that your mom likes seeing it! I was honestly shocked by the new Sweeney Todd casting and your post about it was how I found out yesterday but then it was announced today I think..for Halloween! That's so exciting! I'm a little skeptical cuz Aaron always seems a little young to me for some reason but would be interested to see them in the roles. Someone on Twitter joked he was playing Antony lol. What do you think about it?

So how much of Tomorrow x3 did you read? I'm shocked it doesn't get that much better since it seems to have good reviews and has been recommended by people I follow but I honestly don't know that much about it. But even The Night Circus and Starless Sea have mixed reviews and I would rather trust your opinion so I'm sure it's good! So I started the Night Circus last night cuz that's the one I have on my shelf but hopefully I will read The Starless Sea at some point. I like it so far and think I will get used to the writing the more I read. It doesn't seem like it will be a quick read for me cuz it's pretty long so I apologize..but I'm really looking forward to it!

So I need a bit more time with the Maisie songs but they were so much better when I heard them again. Like Holy Revival..at first I was confused by the sound but the chorus and song is catchy and gets stuck in my head. Then Truth Is, I was a little bothered by the phrasing at first, and it felt unfinished to me but now I don't mind and that's definitely one of the best songs. I feel you can tell when some songs were written..like Yoko and the Last One sound so much like old Maisie to me, but Holy Revival and Guy on a Horse sound more like Rockstar and Blonde based on lyrics and sound. I can't really rank them yet but it would probably be Truth Is, The Last One, Yoko, Holy Revival, The Song and Guy on a Horse..maybe? I've mostly been playing 1989 and haven't had time to watch her lyrics videos yet though. I know Yoko was an old snippet though so I'm sure she does have more and maybe one day she will release those, but also most are just acoustic so idk.

Anyway I totally agree about not really having favorites for the 1989 vault. It's either that they're all so good or they're all the same in a way. But the one that immediately sticks out to me both sound and lyrics is Slut. That's the only one that I could remember and was stuck in my head the next day after hearing it the first time. I am so surprised more people don't love this song! I know it's not what we expected but I think it's so good..so this one is probably my one favorite from this vault. Listening to it is almost like being in a movie to me and I Can See You felt like that too. I do admit that the title doesn't really need to go with the song..it could've been called something else and I think that's why people aren't liking it as much. The others were harder to remember, but I think Now that we don't Talk is also pretty catchy. Say Don't Go is both catchy and probably has the best lyrics so that's my next favorite. Suburban Legends was actually the one I thought I liked the most on first listen and lyrically seemed the most interesting..it kinda reminded me of Cardigan or Dorothea. That's something I can personally sort of relate to so maybe that's why it stood out, and I just prefer some of the lyrics in the song...like screw me up forever lol. but it also feels pretty short and they all are. Is it Over Now has grown on me a lot, but the best part is the bridge for sure..and I love the way she sings it, and oh Lord, but I could also see myself just skipping to that part in the song in the future. I think that one is the single and one people love the most, and it could be cuz it's very 1989. But I just don't care about the lyrics that much, which might be why everyone else likes it more than me lol..and they're similar to Out of the Woods. 1989 was always one of my least favorite albums cuz she has a lot of songs about the same thing

I have never played Sudoku cuz I think it's hard! I'm pretty good at all the word games and crosswords though, and it's just become part of my routine. I count it as some learning for my day. Connections I am okay with and it does switch between easier and hard for me. I like that you play it too though, cuz I thought no one else really did. Now it's something else we can have in common! Have a good rest of your Halloween night!!!

happy happy halloween! happy november! it's funny because i didn't really do halloween as a kid (it's not a huge thing in hong kong, not the way it is here in the states) + am not super big on it as an adult as a result, but i love love love dressing up toto! any excuse i get i'll take it. he has some christmas outfits, lunar new years outfits, etc. it's very fun! i went to a halloween thing last night but also ended up hurting myself (a constant joke in my friend group is how i need to be wrapped up in bubble wrap), so i cut it short and now i'm just resting! did y'all get any trick or treaters? we didn't and i'm lowkey a bit sad about that :(

i'm not a huge horror movie fan (as i mentioned last time), but i do love my fair share of like bloody musicals (american psycho, we are the tigers, carrie, etc. — which ... a lot of are adaptations haha). i've been listening to american psycho the musical all day, actually and very much reminiscing like 2015/2016 broadway season. i think a lot about how much more commercialized broadway is now, and how a lot of the adaptations don't feel well fleshed out but rather a lot like cash grabs and sometimes things don't need to go on broadway but would be better suited off-broadway or elsewhere and i just think everything is very ... safe ... now! no one is taking risks! everything feels so ... money-oriented, which like, yes broadway/theatre is a business, but it feels so lifeless and sad sometimes to me. like so many shows are just adaptations or stunt casts and it's just ... so sad to me. ugh. ok soapbox over.

the prove it part is only in the movie! it's also on the cruel summer live single! it's very fun! i went to red tour and eras but i think if i could i would've gone to fearless or speak now out of all the tours. what about you?

i don't know how i feel about the new sweeney todd! but i also don't know how i feel about this production of sweeney in general? i'm not a huge sweeney girlie — i've never seen it live and have only seen the movie, but everyone i know has been continuously shocked by the castings in this production! i was just telling a friend how aaron is 40 now and we were both like "that can't be possible he was just playing a teenager in next to normal yesterday" 😭😭😭😭 i'm sure he'll be great, but it's just like how i felt with annaleigh when she was cast in sweeney — my brain thinks of aaron as bobby in that production of company he did years ago at barrington stage (?) in the same way that my brain still thinks of annaleigh as dot/marie in sitpwg, so i think it's just going to be hard for me to be like "new sondheim role!"

i think i got through like two chapters? and then stopped. a lot of people liked it, so maybe i'll give it another go some day! i don't even know why i couldn't get through it, just wasn't feeling it i suppose! i feel really bad because my friend sent it to me from the uk. oh well! i haven't really gotten back to reading the night circus yet either, but i'm hoping to spend more time reading it this week! i might try to read an arc tonight and then if i have time tomorrow night or friday i'll try to read more of the night circus! it is very long; please take your time! i'm double annotating it (i can explain this if you want!) so it's also going to take me a whileeee — and i'll be out of town next weekend (which i keep forgetting about) and have things i need to do before it so i probably won't be reading much this week!

and yes! i think what i really like about tgw deluxe — and 1989 vault — is that they properly feel like "Vault" tracks or "bonus tracks" or "songs that we could've put on the album but switched it out for something better/more fitting" instead, like it gives us this insight into the production of it all, the message/themes they wanted to send, etc. i've been listening to 1989 tv more since we talked, and it's definitely grown on me more but i still don't think i have a distinct opinion on favorites! i'll have to relisten suburban legends but i think i can see where you're going with cardigan/dorothea!

connections was very fun + easy for me today! i've been a sudoku girlie for many many years, so it's just been very fun! but i don't always have time to sit down and play it, which kind of sucks. connections is much less of a commitment, which works better for me! my friends and i send our results in into our group chat every day — usually i'm either the first or second, depending on if someone is up after midnight and does it before bed vs. i like doing it in the middle of the night when i wake up at like 3am haha! i feel like sometimes the more "easy" categories are harder for me than what they think are the hard ones? what about you? x

#post: answered #🩷 anon

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