FEATURE: Who’s That Girl? The Joy of Seeing Madonna and Julia Garner Together

FEATURE:

 

 

Who’s That Girl?

IN THIS PHOTO: Madonna shot with Julia Garner in Venice/PHOTO CREDIT: Ricardo Gomes

The Joy of Seeing Madonna and Julia Garner Together

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I have written about…

IN THIS PHOTO: Madonna in 1983/PHOTO CREDIT: Richard Corman

Madonna recently, for a feature I am sharing soon. Her album, True Blue, turns forty on 30th June. It is an underrated album but one of her very best. I know that Madonna will celebrate that album. There is always a lot of Madonna activity, and she is always posting to Instagram. It is great when she posts photos and updates to Instagram. Connecting with her fans and giving us a window into her life. I do think we will received Confessions on a Dance Floor Part 2 soon. It is one of the most anticipated albums of recent years. Also in the mix is the Madonna biopic. A  while ago, this film was being worked on and Julia Garner was cast as Madonna. However, the project then got suspended or cancelled. Madonna to direct the film and co-write it. I am not sure what the dynamic is now, though I feel like Madonna will still be directing and co-writing – though I am not sure who with. As far as we can tell, the biopic will be called Who's That Girl, and it is expected to cover Madonna’s early life, from  on her arrival in New York City during the late-1970s and her huge rise stardom in the 1980s. The film will chronicle her journey from Michigan to the New York underground scene. Looking at Julia Garner, and she reminds me of True Blue-era Madonna. I have said this before. In terms of her hair, I would say she’d play Madonna around 1986. It seems like it is being set earlier and we are going to see those earlier years. It is one of the most anticipated biopics ever. Not only because it is Madonna, but because the woman herself has input and will direct. I do feel that this biopic, if the script has a second pair of eyes on it, will be phenomenal. Madonna is telling her own story and will get the facts straight, but you want someone else who can look at the dialogue and make sure that it is natural and has that blend of emotions. A biopic too that is revealing and honest but there is also some humour.

What is most pleasing about the process is the photos of Madonna and Julia Garner together. I have seen them photographed together in Venice. It might be a bit weird for people seeing Madonna and a famous actor who looks like her walking around together! It is this amazing professional and personal relationship that is incredible witnessing! I am not sure whether they are actually shooting scenes at the moment or this is pre-production. Julia Garner is an incredible actor, and you might know her from Inventing Anna, Ozark, The Fantastic Four: First Steps, and Weapons. The casting was pretty perfect. In terms of the resemblance to Madonna. Garner was born in New York City, so she has that connection with the city that was so important and pivotal when it cam to launching Madonna’s career. This biopic has been on and off and back on again. I was worried that it might not happen, but I think there were perhaps issues with the script. Madonna not happy with her co-writer. Perhaps some studio issues. It is back on now and looks to be progressing well. I am not sure what the shooting locations will be, though you would imagine that New York City is going to provide the main backdrop. Madonna’s story is one of the most compelling and inspiring that we have ever heard. How she came to New York City with barely any money and made a career. It was tough at the start and she faced prejudice and sexism through her career. How she was constantly having to prove herself. Establishing herself as the undeniable Queen of Pop.

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The boot camp and training seems quite intense. Madonna making sure that the right actor was cast. In terms of what is required to be Madonna, there is the singing, the dancing and the look. Getting her voice and mannerisms down. It must have been quite intense for those who were auditioning. Julia Garner has side a broad and impressive C.V. that she was ready for whatever was throw at her, though she did say in interviews that it was gruelling and a hard process. Being snapped with Madonna and the two of them together gives you a sense that they will be very close on set and Madonna, as director, has this trust in Julia Garner. We do not have a release date for the film, though you imagine it might be next year. Madonna has an album she is busy with and there may be a tour to go along with it, so not a load of time to write and direct until that is wrapped up. I wonder what the significance of Venice is when we see Julia Garner and Madonna together there. If that is going to play a part in the film or they are in the city taking a break and bonding before shooting begins. A lot of intrigue around the significance of the city and whether they are currently working on the biopic. That Instagram video of the two of them together singing along to Like a Virgin (1984) might provide a clue.

I, like a lot of people my age, grew up listening to Madonna’s music, and seeing her evolve and release all of these incredible albums, you never really imagined that a biopic would be made. You kind of hope that it would be, as time goes on, it becomes more unlikely. Madonna being behind this and wanting it to happen means that it will be authentic and true to her. Julia Garner is this phenomenal actor who will bring Madonna to life and will tell her story well. That early part of her career where she comes to New York and this promising artist makes her start. It will be a massive success I feel. Madonna and Julia Garner appearing really close in these Instagram photos. It sort of bodes well for their working relationship and what is to come. I think the Madonna biopic – if it is confirmed as Who’s That Girl? – will draw in new fans and long-term fans alike. People might wanted to have seen that era where Madonna released Like a Prayer (1989) and taking it into the 1990s and the Blond Ambition World Tour. Yet, those early days are perhaps less visually dynamic, but they are more important when it comes to our understanding of someone who would become the Queen of Pop. There is a degree of responsibility on Julia Garner’s shoulders, though she will nail the role. She very much looks the part, and you can tell Madonna has a lot of respect for her. I cannot wait to see the biopic come to the screen. I think it will be one of the most successful and best biopics…

THAT has ever been made.

FEATURE: Independent Women Pt. II: Destiny's Child's Survivor at Twenty-Five

FEATURE:

 

 

Independent Women Pt. II

Destiny's Child's Survivor at Twenty-Five

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ALTHOUGH not my personal…

IN THIS PHOTO: Kelly Rowland, Beyoncé and Michelle Williams sayiong a prayer backstage before a gig/PHOTO CREDIT: Gillian Laub via Vanity Fair

favourite Destiny’s Child album (that would be 1999’s The Writing’s on the Wall), I think that their very best is 2001’s Survivor. This was with the classic and definitive line-up of Beyoncé, Kelly Rowland and Michelle Williams. It was released on 1st May, 2001, so I wanted to mark twenty-five years of this classic. I do think that this is one of the most underrated albums ever. I guess there is a lot of controversy around the album. The departure of Destiny’s Child members, LeToya Luckett and LaTavia Roberson, who had departed from the group in February 2000. A lawsuit that was filed. How was contention around some of the lyrics and song conceptions. Some critics liking the thematic impact but dismissing the lyrics. Some saying how it was a calculated record and Survivor lacks the joy of some of the very best Pop and R&B albums. I would disagree with that. I feel Survivor is an empowering work. Vincent Anthony from The 97 said Survivor was responsible for "unbiasedly [melding] R&B inspirations and hip-hop nuances into an [sic] unique brand of pop that defined the early 2000s”. I am going to come to some features around Survivor. In 2021, Stereogum marked twenty years of Survivor. They talked about the personnel shifts in Destiny’s Child and some of the controversial and, let’s say, classless moments on Survivor. However, there are huge strengths and this legacy that has remained. It is arguable that, without Survivor, Beyoncé would not have become the huge name and icon that she has become:

“First to be eliminated were original members LeToya Luckett and LaTavia Roberson. With lead darling Beyoncé being nudged closer into the spotlight, Luckett and Roberson questioned the disproportionate monetary ethics of Destiny's Child manager and Beyoncé's father Mathew Knowles. Rumors also flew that So So Def Recordings R&B group Jagged Edge were causing a rift between the girls, courting Luckett and Roberson while on tour with Destiny’s Child. After loyally following Mathew's acumen as teenagers, the two were blindsided when they learned they had been replaced upon seeing new members Michelle Williams and Farrah Franklin in the technicolor music video for 2000 hit "Say My Name" -- no matter that Luckett and Roberson’s backing vocals on the song remained unchanged and the two dismissed members were still pictured alongside Beyoncé and Kelly Rowland on The Writing’s On The Wall’s futuristic album artwork.

In a 2001 New York Times article, journalist Diane Card Well scathingly dismissed the banished duo: "But the reality of Destiny's Child is that Beyoncé is the magnet. The band originally had four members, Beyoncé and Kelly and two other girls, but it was always a Knowles-family operation, with the family's fair-haired daughter in the spotlight." Replicating the 1960s-era Motown girl group formula of centering one woman à la the Supremes, Mathew Knowles' strategic ambition made Beyoncé the focal darling of Destiny’s Child.

Having experienced brief success as a medical equipment salesman from shortly before marrying fashion guru and soon-to-be Headliners salon owner Tina Beyoncé, Knowles quit his day job once discovering his first daughter's superstar determination. Upon starting Music World Entertainment in 1992, Knowles primed the teenyboppers, then known as Girls Tyme, with harsh critiques and drill instructor tactics. His wife -- once part of high school harmony group the Veltones -- dutifully assisted in fulfilling his family’s vision as wardrobe designer, styling the group’s hair and allowing them to practice at the Headliners shop. With brewing nepotism, the Knowles family operation seemed to have been planned before Beyoncé and younger sister/polyhistor Solange were even born.

Rowland became an unofficial adopted sister, living with the Knowleses for 11 years when her mother was unable to drive her to frequent rehearsals. After a brief stint studying criminal justice and accounting in college, Williams was working as a backing vocalist for R&B singer Monica when she met Beyoncé and Kelly in an Atlanta hotel in 1999, not long before Destiny’s Child began secretly vetting new candidates for the group. "As the new member, I was being protective over the girls because I was just starting to know them," she told Entertainment Weekly in 2016 while also shrugging off any perceived drama or injustice regarding the lineup switch. "There are member changes in groups all the time," Williams continued. "Things happen. I believe in the journey Destiny’s Child had to take to fulfill the group’s mission: to continue to empower everybody."

The sisterly image of Destiny’s Child was wholesome, but keeping up with Mathew’s regimen was tough. As he authoritatively drove Beyoncé into becoming pop royalty, the remaining members also caught the heat; Franklin abandoned the group just five months after being initiated, citing "dehydration." Knowles, Rowland, and Williams were once again without a fourth member, but the trio decided not to seek wannabe prospects that couldn’t keep up. With Williams' gospel-oriented rasp, Rowland's mezzo-soprano stamina, and Knowles' epic octave range and unparalleled showmanship, Destiny's Child met their full potential.

On their third album Survivor, which turns 20 this Saturday, Destiny's Child had another chance to prove their staying power. The Writing’s On The Wall was largely a flippant kiss-off to male suitors on tracks "Bug A Boo," "Bills, Bills, Bills," and "Jumpin', Jumpin'." Survivor encompassed the maturation of Destiny’s Child through girl power anthems, humbling ex-group members, and pompous body-positive messages, all while trading the '90s hip-hop and R&B tendencies of their first two records for a more tech-y sound in keeping with Fanmail, Aaliyah, and The Heat. It was like Destiny's Child were finally making a statement.

While Destiny’s Child was arguably the most important girl group of the 21st century, they were still victims of racist microaggressions in pop music. Prior to The Writing's On The Wall, in a 1999 issue of Maxim, the group’s forenames were blasted for not being ‘sensible’. Being Black women in a pop lane forced them to take a backseat to white bubblegum acts like *NSYNC, Britney Spears, and Christina Aguilera. During press runs, Destiny’s Child were burdened with discriminatory questions, which Beyoncé rehashed during a 2001 interview with pop culture magazine Interview: “We did an interview yesterday, and a woman asked us, "Where did you meet? In the ‘hood?"

Destiny’s Child made ‘the hood’ their playground on salacious track "Bootylicious," where the group teasingly cooed at suitors who weren’t ready for their "jelly." The track confidently rode a slowed-down guitar riff from Stevie Nicks’ 1981 hit “Edge of Seventeen,” and the former Fleetwood Mac member-turned-rock goddess even made an appearance in the song’s tantalizing visuals. An ode to their voluptuous, Southern-bred curves, “Bootylicious” solidified Destiny’s Child as bolder, more salacious pop artists.

However, Survivor wasn’t without its poor moments. The tone-deaf, Salt-N-Pepa-interpolating “Nasty Girl,” which was released as the album’s fifth single but failed to chart in the US, arrogantly slut shames “classless” women with “booty all out, tongue out her mouth/ Cleavage from here to Mexico.” The hypocritical track arrived over a decade before Yoncé sang about getting “Monica Lewinski'd all on my gown,” but in 2001, Destiny’s Child was a ripe act who weren’t even of the legal drinking age. With appearances at the Nickelodeon Kids Choice Awards and 12-inch Hasbro Barbie Dolls that immortalized their likeness, to maintain their pop star status, Destiny’s Child had to fulfill PG-rated expectations instead of being deemed as raunchy Black women. That strategy also apparently involved appealing to millennial teenagers’ baby boomer parents; during a moment of softness on Survivor, the group covered Samantha Sang's 1978 disco hit "Emotion," penned by the Bee Gees' Barry and Robin Gibb.

Destiny’s Child also took catty jabs at Luckett, Roberson, and Franklin throughout Survivor, including on the snide “Fancy” and the album’s war-ready title track. When a radio DJ jokingly compared membership in Destiny’s Child to the CBS TV series Survivor, the hot new reality show of the moment, the group reframed the comparison as a positive, delivering a battle cry in which they gloated about their ascension despite tension from ex-members. The song also served as a showcase for newcomer Williams, who had an earnest vocal standout over a riveting string section. Although Luckett and Roberson later filed a lawsuit against Beyoncé, Kelly, and Mathew, in the public eye “Survivor” worked as graceful public closure amid the girl group hostility, winning Best R&B Performance by a Duo or Group with Vocals during the 2002 Grammy Awards”.

I acknowledge that there are some problems with Survivors and some weaker tracks. Dogged by some controversy and rifts between the departed members and the remaining trio. It does not take away from the brilliance of the overall album I feel. I will come to Vibe now and their 2011 feature on Survivor. Marking fifteen years of this incredible album:

“While the May 1, 2001 release wasn’t DC’s best album in terms of lyrical content, it was a seminal force in the female empowerment trend of the 21st century, serving as a love letter to body-positive, independent and fierce women all over the globe. Additionally, Survivor serves as the pièce de résistance in the group’s opulent-yet-turbulent few years in the limelight. While the group seemed to finally be set in stone, a brief hiatus soon after the album’s release signaled some major changes to come.

The album’s title track serves as a kiss-off to the group’s former members, La’Tavia Roberson, LeToya Luckett and Farrah Franklin. To critics and fans alike, it seemed as though DC’s ship was sunk after yet another line-up change in 2000. However, the song “Survivor” proved that negative notions and odds stacked against the girls only made the newly-solidified group more secure in their bold sound and look. As sung in the song, the three ladies planned on working harder and making music that could survive the industry and the test of time.

The album’s overall purpose, however, was to do what most girl groups aim for- to empower other women to be confident in their personal independence, individuality and femininity. “Independent Women Part I” celebrates the women who can buy their own diamonds and can pay their own bills sans man. It was so powerful, in fact, that it served as the theme song to the film centered around strong and confident women, Charlie’s Angels. “Fancy” discusses how certain women (who “know who they are”) need to stop swagger jackin’ in order to find their own sense of identity. “Bootylicious” turns the distinct rock riff from Stevie Nicks’ “Edge Of Seventeen” into a call-to-action for women to own their sexuality, curves and jelly.

Aside from the lusty serenades about irresistible men you’ll likely hear from an all-female act, the album also highlights DC3’s flexibility in experimenting with R&B, pop and gospel infused-sounds. The ladies put their spin on the timeless Bee Gees track “Emotion,” while “Gospel Medley,” acts as a modern take on the hymn “Jesus Loves Me.” “Independent Women Part II” is (lyrically) almost the same song as the album opener, however, different background music gives the song a whole new flavor, showing the group’s versatility within the genre.

Although the album was commercially successful (it was certified 5x platinum in the U.S.), there were rumors that things were still not copacetic behind-the-scenes. Beyonce had song-writing credits on almost all of the songs and had many of the lead singing parts, which allegedly led to jealousy among Kelly and Michelle. There was no denying that Bey was the star of the album, so it’s understandable why the group focused on individual music careers before re-uniting for 2004’s Destiny Fulfilled. Although the latter attempted to give each member their shine and was more advanced in terms of production and content, it was inevitable that the trio had to go their own ways in order to truly have their own musical and personal freedom.

Survivor is the kind of album Destiny’s Child needed to produce to catapult them to girl group superstardom. It was the kind of album they needed to produce to change the conversation about feminism in the music industry. It was the kind of album they needed to produce in order to showcase that they were “independent women” capable of being on their own as musicians. All three had different styles as singers and performers, so they needed to capitalize on their strengths in their own ways. It was bittersweet to see Destiny’s Child disband, but we got several solid albums amidst the closeted chaos. If they could survive the tumultuous early years of being in a girl group, they could surely survive the industry, and as time has shown, these ladies are surviving in their own right”.

There are reviews and features that counter Survivor is a messy album. A Pop album. And not a very good one. However, I am going to end with a positive review that states, whilst 1999’s The Writing’s on the Wall was shady and male-bashing (I feel it took scrubs and no-good men to task and was about empowerment), Survivor takes a different – and more positive – direction:

“Long before Kelly aired her “Dirty Laundry,” before Michelle had a Journey to Freedom, and before Beyoncé turned her lemons into Lemonade, Destiny’s Child at just 19 and 20 years old stepped out as voices of empowerment for our generation.

It’s hard to believe two decades have passed since Destiny’s Child released their iconic Survivor album. It is amazing to think back to that time, and that album, as a fan and reflect upon how much has changed since.

When the group released Survivor, they were hot off the success of their biggest hit to date, “Independent Women Part 1” (the soundtrack to the hit movie Charlie’s Angels), the massively successful The Writing’s on the Wall era, and had cemented their second and final lineup: a trio, consisting of Beyoncé, Kelly, and Michelle, rebranded as DC3.

The drama surrounding the group only added to public interest in them, and the Survivor era had a phenomenal start. Prefaced by an 11 week long #1 in “Independent women,” the set was lead off by its title track which hit #1 on Airlay chart and #2 on the Hot 100, fended off by Janet Jackson’s “All For You.” However, redemption came quickly and in competition with yet another diva who inspired the trio: Mariah Carey. The Stevie Nicks sampling “Bootylicious” hit the pole position, edging out Mariah’s “Loverboy” (we won’t go into the nasty details on how Mariah’s ex made this event swing in DC3’s favor). Subsequently, Survivor debuted at number one with over 663,000 copies sold. For its final single in the US, the trio chose a cover of The Bee Gees-penned “Emotion,” which peaked at a modest #10.

While it was a bit of a short-lived era in its present, Survivor has endured as a defining moment in the ladies’ careers. The Writing’s on the Wall opened the door to their “male bashing” songs, Survivor took a turn in a different direction instead. The album was empowering rather than shady like its predecessor. It marked the beginning of a career of empowerment for the ladies of Destiny’s Child.

While the album itself was by no means an innovative artistic masterpiece, it is still a pristine example of pop perfection. It unbiasedly melds R&B inspirations and hip-hop nuances into an unique brand of pop that defined the early 2000s. There was something that set DC3 and Survivor apart from its competition, though: its content and message.

The album deals with a variety of topics: obviously empowerment (specifically female), independence, body image (“Bootylicious”), self esteem (“Happy Face”), hate (“Fancy”), over-sexualization and perception (“Nasty Girl”), sexual abuse (“The Story of Beauty” – written by Beyoncé based on fan mail DC3 received), friendship (“Thank You”) and of course, love – and surviving heartbreak.

It is because of this that Survivor resonated with millions of fans that have stuck by Destiny’s Child ever since – like me. Of all the late 90s, early 2000s Pop groups Destiny’s Child’s legacy is by the far the most long lasting and beloved. If the ladies announced a proper reunion today, undoubtedly it would yield tremendous success. Why? Because fans have such a strong connection to this group. They may have retired, but the love between them has survived. There is no pretense, there is no need for a reunion for the sake of their careers. Of all their Pop group peers, only Destiny’s Child’s members have found notable success with their solo ventures. When they reunite it is out of pure love; and love conquers all.

Their iconic status was cemented with their 2004 comeback, Destiny Fulfilled, but Survivor was really their defining moment. It was the springboard to the success that came for all three of them. The sisterhood that was established with Survivor is perhaps the best aspect of it all. For millions of young girls, Destiny’s Child was the example of a strong sisterhood. For millions of people, period – Destiny’s child is a symbol that no matter what life throws at you, you can survive it: “After all of the darkness and sadness, still comes happiness. If I surround myself with positive things, I’ll gain prosperity.” Indeed, they did, and by doing so, showed millions of people that they can too. This message has endured two decades, and will for sure last for many, many more. So, put your fist up and celebrate that you, too, are a “Survivor” today.

I am going to leave it there. I wonder if Beyoncé, Kelly Rowland and Michelle Williams will say anything about Survivor on 1st May on its twenty-fifth anniversary of whether they do not have particularly fond or lasting memories of that album. There is always this curiosity as to whether they will perform together again or record another album. It would be incredible if they toured or did another show, as they have this incredible bond. That is evident through Survivor. Though not a perfect album or one without flaws or controversy, I think that it is…

WORTHY of more respect than it has received.

FEATURE: Old School Joint: Missy Elliott's Miss E... So Addictive at Twenty-Five

FEATURE:

 

 

Old School Joint

Missy Elliott's Miss E... So Addictive at Twenty-Five

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ARGUABLY her finest album…

IN THIS PHOTO: Missy Elliott in 2002/PHOTO CREDIT: Gregory Bojorquez/Getty Images

the all-conquering Miss E... So Addictive turns twenty-five on 15th May. I am going to get to some reviews and features for this incredible album. The third studio album from Missy Elliott, it reached number two in the U.S. and ten in the U.K. Its lead single, Get Ur Freak On, one of the defining songs of the 2000s. It is one of my favourite songs of that decade. I hope that there is new celebration and attention given to Miss E... So Addictive ahead of its twenty-fifth anniversary. I am going to start out with an interview from Vibe that was published in June 2001. We learn how this Rap icon “blasts back onto the scene with her third album, the innovative and sexy Miss E…So Addictive. Marc Weingarten bonds with the reborn, self-aware woman in charge and discovers her new style of sexual healing”:

“Supa Dupa Fly’s platinum success, and Elliott’s songwriting and producing track record for artists like Aaliyah (“One In A Million,” “If Your Girl Only Knew”), 702 (“Steelo”), and SWV (“Can We”) among others, enabled the Portsmouth, Va., native to write her own ticket with Elektra. The company gave her a label imprint, The Gold Mind Inc., with a full roster of handpicked talent. At the time, Missy was seemingly bulletproof. She even managed herself. Who needs to give up 20 percent, for Christ’s sake, when there’s so much money rolling in?

Two years later, Elliott released her follow-up, Da Real World, a darker, less playful album that also sold a million copies, but did so in a much quieter fashion than Supa Dupa Fly (read: negligible media buzz, fewer MTV spins). Gold Mind’s inaugural release, Nicole’s Make It Hot, sold anemically, despite bearing the freakishly imaginative thumbprint of Elliott’s songwriting and production skills.

Suddenly, Elliott found her bountiful cash flow hitting rocky shoals. The Supa Dupa Fly clips with which she had universally raised the standard for video production had cost roughly $2 million a pop, and they sat on Elliott’s balance sheet like two-ton weights, dragging down her bottom line. Despite the success of Da Real World’s “Hot Boyz,” which stayed atop Billboard’s rap chart for 18 straight weeks, the album failed to live up to her sales expectations, and she still harbors some residual bitterness about it.

“I was in ‘prove your point’ mode when I made that album,” says Elliott, before heading into the walk-in closet-sized New York City studio where MTV’s Direct Effect tapes. “You know, like, can she do it again? I was more intense on that album. I honestly think it could have done a lot better, but Elektra cut my singles off after three, and ‘Hot Boyz’ broke a record for staying at number one! How can you cut off an album when the last record has done so well?” Sylvia Rhone, chairman/CEO of Elektra Entertainment Group, explains that they were “still able to recover and maintain the kind of sales we achieved with Supa Dupa Fly, and with the tremendous success of ‘Hot Boyz,’ we thought it was best to end on a high note.”

Da Real World’s failure to live up to Elliott’s expectations has spurred her to be more hands-on with every aspect of Miss E…So Addictive, from marketing to single-street dates. “I’m probably more involved with the business side of things now than I am as an artist,” says Elliott. “I spend a lot more time in meetings with my artists and for my own project. I thought I knew a lot then, and you learn more as time goes on, but two years ago, I don’t think I was educated about the business.” That’s why “Get Ur Freak On” is being released now, a full month and a half before the album’s release, so it can “marinate in the clubs for a while, get a street buzz going.”

Elliott may be more involved with biz than show now, but she isn’t spreading herself as thin as she once did—booking massive gobs of studio time, working 24-7 as if her life depended on it. Two years ago, she hired Mona Scott, a partner in Violator, the powerhouse management firm that also handles Nas, LL Cool J, Busta Rhymes, and Maxwell, among others. If a decision has to be made, it’s done by committee now, not a party of one.

PHOTO CREDIT: Sacha Waldman

“There were situations where I would go into the studio with an artist to lay down a track, and I wouldn’t get a check,” says Elliott. “Mona told me, ‘Look, you’ve gotta get the first half of the check before you do any work.’ The bills were just piling up. A lot of that pressure is off of me now. If there’s a situation where I don’t want to do something, I don’t have to look like the bad guy.”

Elliott was spending too much money and not getting enough back in return. “It was crazy,” she says. “I mean, I’ve got a lot of love for this business, but at the same time, I gotta make sure my mom is taken care of.” Her mother, Pat Elliott, helps Missy manage her money, pay her taxes on time, and invest prudently whenever a $500,000 check rolls in. She’s Missy’s most trusted adviser—the only person, in fact, that she trusts unconditionally. When Pat suffered a massive heart attack in March that required rehabilitative therapy, it cast a black cloud over the prosperous, placid little universe Missy had created for the two of them.

“It really messed with me,” says Elliott. “I’ve always been close to my mother, and it’s hard for me now, knowing I have to go overseas for the album and leave her. She’s all I’ve got. If she was gone, they’d have to put me in a strait-jacket. I’d be messed up for a long, long time. Just seeing her in the intensive care unit, it was so hard.”

When asked how her father—who Pat Elliott divorced when Missy was 14 years old—reacted to her mother’s sickness, Missy says, “I don’t think he knows about it.”

“MAN, I live to take this makeup off!”

Her promotional chores finished at Direct Effect, Elliott leaves MTV’s studios in the Viacom building and hops into a stretch limousine waiting for her on 46th Street by the service entrance. She wipes her glitter mascara off with a box of baby wipes, then fumbles through her pocketbook for a copy of the new album. Popping it into the stereo system, a strident bass thump rattles the limo’s windows, and a strange brew of synth sirens and space-age sound effects begins to cast a spell over Elliott. She’s in a trance state: eyes closed, arms akimbo, mouthing the words like any other fan: “If I give you head, you’ll never leave,” she rhymes on “Lickshots.”

Make no mistake: Elliott’s astonishing new album Miss E… So Addictive is all about sex—how to get it, how to do it, when to spurn it. While she may have touched upon the subject in the past, this represents a subtle shift in Elliott’s persona. Gone are the Supa Dupa Fly days, when Elliott was content to be a jeep-beeping homegirl with a space-age secret identity and leave the heavy breathing to pheromone bombs like Lil’ Kim and Foxy Brown. Missy is tired of being, in her words, “a cartoon.” It was time to peel off the mask, show the world what Missy was really all about. And, as it turns out, she’s all about sex. For virtually any other hip hop performer, this wouldn’t be an unusual development, but for Missy, it’s a stunner.

Consider her background, which was scarred by sexual trauma at a very early age. A teenage relative sexually abused Elliott beginning when she was eight. This went on frequently over the course of a year. Her father also mercilessly beat her mother for years. “Stuff like that never leaves you,” says Elliott. “I’ll never forget walking into the house and seeing my mother crouched in the corner with her arm out of the socket. There isn’t a day that goes by that I don’t think about all of it.”

In high school, Elliott was fast and loose with men. “Did I have relationships? I was bonin’,” she says. “I was going through a time when all that stuff kept playing in my head, and, eventually, you begin to seal yourself off from anything that reminds you of that situation.” Shunning psychiatry, Elliott instead turned to the church for spiritual sustenance and some degree of comfort. “I believe God healed me from a trauma that, for somebody else, would have made them lose their mind.”

As for her attitude toward men today, it’s strictly an arms-length proposition. “I have learned to be happy with myself,” she says. “I’m not saying I’m celibate, but I watch a lot of friends who are unhappy because they feel they have to be with a man, but then they catch them doing whatever. I’m like, I’m happier than ya’ll. I’ve seen so much, that I decided early on that I would never take any sh*t from any man.”

Unlike stars like Madonna, who equate sex with power but really pander to the fantasy life of men, Missy’s new sexual frankness truly is a form of empowerment, because it’s being done on her own terms. When you’re Missy’s kind of beautiful—the kind that doesn’t fit the standard set by mainstream, white America—you can’t be co-opted by a music industry that values the commodification of flesh. When Missy raps “Get Ur Freak On,” it sounds less like an invitation and more like a command, and you’d better obey.

“I don’t trip, because it doesn’t have to be about you getting all butterball naked and singing ‘Oops!…I Did It Again,” says Elliott. “If you’ve got talent, you just have to do you. If they want to take their clothes off and sell those records, fine—just call me to do a song on your album!”

There’s a newfound boldness on Miss E… So Addictive that was only hinted at on Da Real World, a willingness to seize whatever it is that strikes her fancy with blunt bedroom tactics. Check the song titles: “Dog In Heat,” “Ex-sta-sy,” “Get Ur Freak On,” “One Minute Man” (as in “I don’t need no…”).

“As females, we went through our anger moment,” says Elliott. “Then, it was all about ‘Where’s my money? We don’t want no broke dudes.’ Then, before that, it was about love. So for me, it was like, dag, all of the old topics are worn out one way or another! I just wanted to cross the border with this album. When was the last time somebody made records like Prince, or Rick James, or Marvin Gaye’s ‘Sexual Healing?’ I wanted to do what everybody else is scared to do.”

Miss E… So Addictive shifts the paradigm in other ways. With Supa Dupa Fly, Elliott and her childhood friend/partner-in-rhyme Timothy “Timbaland” Mosely introduced a new vocabulary of beats the way Chuck Berry introduced a new way of playing guitar into rock’n’roll’s lexicon 40 years prior. Elliott refers to them as “double beats,” and they do have a kind of double-jointed agility about them. Tim made this bass drum skip and skitter over tracks like a fibrillating heartbeat, liberating hip hop from straitjacketed, four-on-the-floor rhythms.

But admiration soon begat emulation, and countless producers began packing their tracks with rubberband beats. Elliott and Tim started complaining in the press about beat thieves pilfering their stuff and even wrote songs about it (Da Real World’s “Beat Biters”).

Soon, it got to the point where you couldn’t read a Mosely interview without him complaining about being robbed of his rhythms. Those protests quickly grew tiresome. A Spin review of Da Real World began with the pungent line: “Enough about Timbaland’s goddamn beats already”.

I will finish off with a Pitchfork review for the incredible Miss E…So Addictive. Even if many might not view it as being as influential and strong as Supa Dupa Fly, Elliott’s third studio album is seen as one of the most important albums of the 2000s. Rolling Stone voted at seven in their list of the 200 greatest Hip-Hop albums in 2023. Stereogum wrote about Miss E…So Addictive on its twentieth anniversary in 2011:

“There is a particular form of genius involved in producing bugged-out brain-exploding pop music that still functions as pop music -- that elbows its way into radio rotation, sells records, and changes the contours and possibilities of the zeitgeist in real time. It's a rare and difficult thing to accomplish. Throughout history, we've only seen a few producers who can fuck around with the formula while still remaining top of the pops: Joe Meek, Brian Wilson, Lee Hazlewood, Giorgio Moroder, Prince, maybe a few others. In the late '90s, the team of Missy Elliott and Timbaland rose up and took their place within that proud lineage.

In a head-spinning series of records for themselves and for others, Missy and Tim remade rap and R&B as playfully experimental digital cartoon funk, importing ideas and beats from dancehall and house and bhagra and god knows where else, turning those ideas into ecstatic plastic space-pop, reshaping the sound of the radio in the process. By the time Missy and Tim hit their stride in 1997, the same year that Missy released her classic debut Supa Dupa Fly, the rest of rap was scrambling to catch up. Four years later, the duo's evolution was at its peak. They were able to make whatever they wanted, and that's exactly what they did.

By the summer of 2001, Missy and Timbaland were as big as they would ever be. Missy rewrote and co-produced Labelle's disco-funk oldie "Lady Marmalade," turning it into a show-of-force pop posse cut for the movie Moulin Rouge, and it became one of that summer's biggest hits. Timbaland was making hits with people like Jay-Z and Ludacris and Petey Pablo, and he'd helped his young R&B collaborator Aaliyah turn into a dominant crossover pop figure who was already knocking on the door of movie stardom. The Neptunes, another Virginia production team, had risen up with their own spartan take on the Missy/Tim sound. Virtually every song on rap and R&B radio -- and, increasingly, pop radio -- took some element of that vividly warped Virginia sound. Missy and Tim were working with a blank check, and maybe a blank check is how you end up with something like "Get Ur Freak On."

"Get Ur Freak On," the lead single of Missy's third album Miss E... So Addictive, is a deeply strange and sideways anthem. Its six-note riff, played on an Indian instrument called a tumbi, returns again and again, mocking and insistent. Tablas sputter and chatter, surrounding the beat without fully locking into it. Japanese-language exhortations drop in and out. Ominous keyboard drones rise steadily, evoking horror-movie soundtracks. Over all of this, Missy Elliott intones delirious nonsense about spitting in your mouth and the biggie biggie bounce. She plays around with the beat, leaving in long and strange pauses: "Copywritten so... don't copy me!" On the intro, Missy promises "some new shit." For once, that's a crazy understatement.

In its way-out silliness, "Get Ur Freak On" could've lost people. Instead, it was everyone's favorite song to hear while drunk late at night. In 2001, the year of "Get Ur Freak On," I had a short stint as a DJ at a deeply unsuccessful hipster dance night in Syracuse, which is not a place where you should start a hipster dance night. Other than perhaps "Blue Monday," "Get Ur Freak On" was my one great reliable floor-filler. Everyone loved that song.

"Get Ur Freak On" anchored Miss E... So Addictive, which celebrates its 20th anniversary tomorrow. The album went platinum in a couple of months. When the LP came out, club drugs, and ecstasy in particular, had just taken off in the rap world. Giants like Jay-Z and Eminem were rapping about the pill's effects, and fizzy rave textures were appearing in tracks as heavy as Mannie Fresh's Cash Money bounce symphonies. For Miss E... So Addictive, Missy Elliott turned her own name into an MDMA pun, drawing a metaphorical connection between the drug and her own bugged-out and hypnotic sound. Missy and Tim had already been playing around with rave sounds and signifiers for years, and the timing was right for the two of them to take the world on a hallucinatory club odyssey.

Miss E... So Addictive isn't the most revolutionary Missy Elliott album; that's still Supa Dupa Fly. It's not my favorite, either; the old-school double-dutch absurdity of 2002's Under Construction hits me right in all my pleasure centers. But Miss E might be the album where Missy and Tim were most locked-in with the mainstream, ready to push the world in whatever direction they wanted. Miss E is a wild journey of a blockbuster album. Missy and Tim had access to the whole Black-music establishment, and they used it to make some truly new shit.

Casting is important. Superstar guests show up all over Miss E... So Addictive, and they're all deployed to maximum effect. Method Man and Redman huff hungrily on "Dog In Heat." On the monster hip-house jam "4 My People," Eve gives a virtuoso treatise on nightclub etiquette and on what she'll do to the people who violate it. Busta Rhymes appears on one interlude -- not to rap, but to make triumphant declarations. On another, Lil Mo goes into paroxysms of gospel euphoria, just so that Missy can make fun of her: "You singing like you in church, raising money for some new choir robes or something!"

On the delirious smash "One Minute Man," Ludacris gives what might be the single greatest verse of his entire career, surging out of the gate like a greyhound and firing off horny innuendos with dizzy energy. I don't know if I've ever had quite that much fun rapping along with anyone, on anything: "Enough with tips and advice and thangs! I'm big dog, having women seeing stripes and thangs! They go to sleep, start snoring, counting sheep and shit! They so wet that they body started leakin' shit! Just 'cause I'm a all-nighter! Shoot all fire! Ludacris balance and rotate all tires!"

"One Minute Man" would've been a masterpiece of loping computer-funk even without that Ludacris verse. Luda takes it into the stratosphere. In the video, Missy does wire-fu and dances around with her own decapitated head. (Jay-Z's verse on the "One Minute Man" remix is a whiff, a retread of the stuff he'd just been saying on the Tim-produced "Big Pimpin'." It's notable today only for the strange sensation of hearing Jay clown his future wife: "Get ya independent ass out of here, question!" There's a reason why that verse is on a bonus-track remix, not on the song itself.)”.

In 2023, on its twenty-second anniversary, Hot New Hip Hop went inside a Hip-Hop classic. If you have not heard Miss E…So Addictive, then take this opportunity to listen to a phenomenal work from a Hip-Hop pioneer. I heard it when it came out in 2001 and I was struck by it. I knew about Missy Elliott and was not sure what to expect. The album created an instant impression:

“The album Is a fusion of Hip Hop, R&B, and electronic elements. Timbaland's clever beats complement Missy's distinguishable rapping and singing style. It includes hits like "Get Ur Freak On" and "One Minute Man," which became staples on the radio and in clubs worldwide. Other standout tracks include "Lick Shots," "Take Away," and the sensual ballad "X-tasy."

Miss E…So Addictive was met with widespread acclaim from both critics and fans. The album's lead single, "Get Ur Freak On," reached No. 7 on the Billboard Hot 100 and No. 3 on the Hot R&B/Hip-Hop Songs chart. The album itself peaked at No. 2 on the Billboard 200. It was eventually certified Platinum by the Recording Industry Association of America (RIAA).

Miss E…So Addictive remains a seminal work in Elliott's discography, highlighting her fearless creativity and unique artistry. The album's lasting impact is evident in the countless artists who have cited Missy as an inspiration. This includes Rihanna, Lizzo, and Cardi B. By breaking down barriers and pushing the boundaries of what was considered possible in Hip Hop and R&B, Missy Elliott carved out a space for herself and future generations of artists.

Queen Of Innovation

Missy Elliott's innovative impact on music exemplified her experimental approach to songwriting and production. Her often fearless approach to music production paved the way for other women in Hip Hop artists to break into the industry. The inspiration behind Miss E…So Addictive is rooted in Missy's desire to create music that would withstand the tests of time. Drawing on her life experiences and her love for various genres, Missy crafted an album that showcased her versatility as a performer, songwriter, and producer.

In addition to its commercial success, Miss E…So Addictive garnered several award nominations. The album received two Grammy Award nominations, with "Get Ur Freak On" winning Best Rap Solo Performance. Elliott also welcomed several MTV Video Music Awards nominations. She won the Best Hip Hop Video award for "Get Ur Freak On."

Beyond the music itself, Missy Elliott's influence extends to her music videos. These have become an essential part of her artistic legacy. With their futuristic visuals, bold fashion choices, and high-energy choreography, her videos perfectly encapsulate the essence of her music.

A Legend In The Game

Missy career has continued to thrive, with several more albums and countless collaborations with artists from various genres. Additionally, her contributions to the music industry have not gone unnoticed. She was honored with the MTV Video Vanguard Award in 2019 and inducted into the Songwriters Hall of Fame the same year”.

I am ending with a review from Pitchfork. This is a review from 2001. Interesting to see how critics reacted to Miss E…So Addictive when it was released. I think that it is as powerful now as it was in 2001. The songs have not aged at all. Some critics were not sold in 2001. Finding Miss E…So Addictive a little disorientated and Elliott spends too much time dissing detractors. However, with Miss E…So Addictive, Elliott was not playing male rappers at their own game (as The Guardian observed); she was changing the rules and paving the way for other female rappers:

“A lot of albums kick off with the killer track. Some even manage a cool one-two punch. Missy Elliott's third record, on the other hand, opens with a six-track attack that's rare for any genre, especially contemporary R&B.; I find it hard to believe I'm only a third of the way into the record when this first-rate succession ends. But even with this initial run of excellence, So Addictive has much more in store.

Elliott makes good on her intro's promise of "some shit that you never heard before." A range of beats-- from the minimal funk of "Dog in Heat" to the demented tabla of the single, "Get Ur Freak On"-- are punctuated by wild vocal pyrotechnics and tempered by soulful crooning. In fact, there's more singing on this record than rapping. Elliott's low, throaty moans, aerial cooing, and delicious screams demonstrate tremendous restraint and control. In "I've Changed (Interlude)", she rightly berates Lil' Mo for suggesting she sings like "she's in church trying to raise money for choir robes."

"Dog in Heat" starts as a simple lowdown funk track, building gradually upon a simple bass riff and drum thunk. Elliott piles layers of vocals atop Timbaland's multiplying strings and rattles, and eventually veers off into an entirely new direction at the song's end. Redman and Method Man also provide raps, adding comic relief and charisma. Elsewhere, Missy harmonizes with herself on "One Minute Man", again keeping the beat simple under a squeaking synthesizer hook, and this time allowing Ludacris to reprise the record's freak-getting-on theme by promising not a mere pit stop, but a full night's stay at Casa de Intercourse.

Missy finally breaks out the rap on "Lick Shots", twisting her voice around a Southern/Martian accent. "Y'all don't HEAR me/ You've got your guns but you don't SCEEER me/ BRRRRAAGHH!" The crazy phrasings and vocal eruptions that dominate this album are introduced here, and then let loose in the anthemic "Get Ur Freak On", where they halt beats and maneuver labyrinthine rhythm structures like "Lexus Jeeps". Its hook features the sort of Eastern percussion that runs rampant on Top 40 radio, but rarely is it used so effectively. Timbaland's technique is undeniably masterful, too, as he plays with meter, dynamics and expectations, allowing Missy to stop and spit "HOLLA!" and "Shhh..." over surreal stillness and silence.

"Scream (aka Itchin')" shakes its maraca under some prickles of shrill synths while Elliott details a sexual encounter. Rapid-fire rhyme quatrains and triplets spew forth, punctuated by screams like something the Bomb Squad used to blast for Public Enemy. "Old School Joint" comes along to "flip the beat", keeping So Addictive stylistically varied while pushing dance music to euphoric heights. Its "flashlight" and "neon light" references pay homage to P-Funk, but rather than mimicking the seminal funkateers, Missy integrates a heavier disco sound, creating something fresh out of an otherwise tired influence. "Take Away", though, attempts to update early Prince ballads, and instead reveals how those slow R&B; jams depended on The Artist's histrionics to carry the song. And despite having already proven herself more than capable of similar theatricalities, she relies on played-out vocoder, and irrationally allows Ginuwine to dumb things down with "sensitive" crooning.

So Addictive is further held back by sporadic low points during its second half. Not even reversed cymbals, snazzy rim shots and processed soul-girl harmonies can distract from the fact that neither "Step Off" nor "X-tasy" actually go anywhere. Also guilty are the superfluous remix of "One Minute Man", featuring Jay-Z, and a religious bonus track that has its mind, and length, set on eternity.

Still, there are three absolutely killer songs on So Addictive's second half. "4 My People" features Missy at her most sincere, begging, "Put the needle on the track/ Skip that, flip that, bring the beat back." "Slap Slap Slap" is both ferocious and psychedelic, with a backwards guitar and some fierce guest turns by Da Brat and Jade. And, after a pointless but impressive Busta Rhymes interlude, "Whatcha Gon' Do" rolls through with Timbaland's guttural rap and a rumbling beat that loops around itself like a perpetual motion machine set on accelerate. Synthesizers hiss like hydraulic pistons and hover like boomerangs while background guitar sounds wail like ghost cats in heat.

Of course, to say Miss E is addictive is pushing it. Sure, I'm having a great time experimenting with this stuff right now. But I can stop any time I want”.

15th May is when we celebrate twenty-five years of Miss E…So Addictive. It is one of the defining Hip-Hop albums ever. On 18th July, 2001, the album was certified platinum by the Recording Industry Association of America (RIAA). It has influenced scores of other artists and will continue to do so. A truly spellbinding and towering work from…

A queen of Hip-Hop.

FEATURE: Kate Bush: Them Heavy People: The Extraordinary Characters in Her Song: Sailors, Life-savers, Cruisers, Fishermen (Hello Earth)/Little Shrew (Little Shrew (Snowflake)

FEATURE:

 

 

Kate Bush: Them Heavy People: The Extraordinary Characters in Her Songs

IN THIS PHOTO: Kate Bush photographed during the shoot for Hounds of Love’s conceptual second side, The Ninth Wave/PHOTO CREDIT: John Carder Bush

Sailors, Life-savers, Cruisers, Fishermen (Hello Earth)/Little Shrew (Little Shrew (Snowflake)

__________

IN this edition…

IN THIS ARTWORK: Kate Bush’s Little Shrew/CONCEPT ARTWORK: Jim Kay

of this feature that discusses characters in Kate Bush’s songs, I am bringing things right up to date in the second half. The first half looks less at named characters but ones that are less identifiable. What I mean is that Bush refers to groups of people rather than particular characters. Hounds of Love has quite a few characters for me left to explore. Songs such as The Morning Fog, Hounds of Love and Cloudbusting in my sights. I am going to talk about Hello Earth and some sea-faring characters that Bush warns to get out of the water. I will continue in a second. Kate Bush’s most recent single is in my thoughts too. An animal character that was transplanted into a song that originally appeared on 50 Words for Snow. I am grouping together Sailors, Life-savers, Cruisers, Fishermen now. Many might not be aware of them or have missed them. For this first half, I want to discuss, among other things, Bush creating this ambitious concept for Hounds of Love. The subject of water (again) and Bush’s fascination with it. Also, the fact that this suite has yet to come to the screen. I will start by discussing the atmospheric and epic in her music and the detail in her work. I did write a series of features around Hounds of Love last year when it turns forty. I did spotlight every song and went inside them. In doing so, I drew heavily from Leah Kardos’s 33 1/3 Hounds of Love book. Even though there were plenty of grand moments in Kate Bush’s music, I don’t feel it was highlighted enough. Hounds of Love was the finest example to that point. Think about some moments on Never for Ever like Breathing. That is an epic and heavy song. So too is Get Out of My House from The Dreaming. On Aerial, for the A Sky of Honey suite, there was this sense of gliding into the sky and being above the world.

What I love about Hounds of Love is the balance of the more conventional and the fantastical. What I mean is The Ninth Wave, the second side of Hounds of Love, has this mix of the cinematic and fantasy. A woman that is stranded in the water after going overboard. She does get rescued in the world, but there are moments where visions and voices come to her. It moves through various genres and phases. In terms of her production work on that album and her career in general, there is not enough written about Kate Bush. I feel people see a producer as someone who has general views on an album and inputs ideas here and there. That might be the case with some producers, though Kate Bush is someone who was involved in every aspect of album-making. As a producer, she took a load of notes and had so many ideas. Hello Earth is a long song (6:13: the longest song on Hounds of Love) and one that builds and moves like a cinematic scene. A Classical piece. I want to bring in what I wrote last year and what Leah Kardos notes about Hello Earth. Analysing it in a fascinating way:

“We have “drummer Stuart Elliott, guitarist Brian Bath, bassist Eberhard Weber, pipes by O’Flynn and bouzouki by Lunny, in addition to a choir (by Richard Hickox Singers), orchestral strings, horns and percussion, arranged again by Kamen”. Michael Kamen and his orchestral arrangements is crucial to the swell and epic nature of Hello Earth. As Bush’s heroine looks down on the seas from way above, she is “helpless to stop a destructive storm she sees forming over America and moving out to sea (‘Can’t do anything…’)”. Leah Kardos observes how “Bush calls back to ‘Hounds of Love’ (the declarative ‘Here I go, don’t let me go! becomes a regretful ‘Why did I go?’), ‘Waking the Witch’ (‘Get out of the waves, get out of the water’), with keyword nods to ‘Mother Stands for Comfort’ (‘Murderer!’) and ‘Cloudbusting (‘Out of the cloudburst’)”. It is, as Kardos writes, like a Broadway musical. Bringing all the themes that have gone before into this big number. All coming to the surface of the narrative. All the pieces fit together. The only problem is the gaps. Where the chorus should be, there was the decision as to what would be there.  Composer Michael Berkeley transcribed and arranged a Georgian folk song, Zinzkaro – for the Richard Hickox Singers –, which needed to be similar to the Werner Herzog/Nosferatu piece that Bush had heard and wanted to use. Michael Berkley “characterized Bush’s creative approach as ‘zany (and) ambitious’, later recalling how he was sent a cassette with copious colourful notes, adding ‘she talked of the sound quality in the most graphic terms … indeed, she was thrilled when I suggested we create our own new language for this chorus of the spheres”. “With the lowest strings oozing down from F to C# and the highest strings inching upwards from high C to C#, is a spine-tingling musical manoeuvre, a panoramic aspect radio shift”.

There is a slow-motion portamento that slides to this widescreen drone. There are moments of whale song and sonic blips. Suggestions that the heroine could be sinking. Bush whispers in German “Tiefer, Tiefer, irgendwo in der tiefe gibt es ein licht”. This translates to “Deeper, deeper, somewhere in the depths there is a light”. Maybe this is the moment of death where Bush’s stranded woman – whether she truly casts herself in this role or someone else – or a psychological awakening. It almost comes full circle. And Dream of Sheep was when she wanted to sleep and drift to rest after being lost at sea. Kardos notes how Hello Earth “fulfils the promise of ‘And Dream of Sheep’, with Bush finally  soothing the ‘little earth’ to sleep after the long struggle to stay alert”.

What makes a song like Hello Earth so impressive is how hard it was to come together. Bush struggled to make it work, yet you listen to the finished version on Hounds of Love and it sounds natural. When speaking with Richard Skinner in 1992 for Classic Albums, this is what she said about Hello Earth:

“‘Hello Earth’ was a very difficult track to write, as well, because it was… in some ways it was too big for me. [Laughs] And I ended up with this song that had two huge great holes in the choruses, where the drums stopped, and everything stopped, and people would say to me, “what’s going to happen in these choruses,” and I hadn’t got a clue.

We had the whole song, it was all there, but these huge, great holes in the choruses. And I knew I wanted to put something in there, and I’d had this idea to put a vocal piece in there, that was like this traditional tune I’d heard used in the film Nosferatu. And really everything I came up with, it with was rubbish really compared to what this piece was saying. So we did some research to find out if it was possible to use it. And it was, so that’s what we did, we re-recorded the piece and I kind of made up words that sounded like what I could hear was happening on the original. And suddenly there was these beautiful voices in these chorus that had just been like two black holes”.

You might ask where our characters fit in. It is these lines: “All you sailors, (“Get out of the waves! Get out of the water!”/All life-savers, (“Get out of the waves! Get out of the water!”) All you cruisers, (“Get out of the waves! Get out of the water!”)/All you fishermen, Head for home”. You feel Kate Bush, as the ill-fated heroine, floating above the water and seeing rescue boats, fishermen, sailors and cruisers all in peril.

Are these actual people in the water or those in her mind? I think that there are sailors at night and life-savers maybe out looking for the heroine. Fishermen trying to get a catch whilst it is dark. Cruise ships. The storm is coming and the waves are churning. Whilst many assume Bush was alone in the water for The Ninth Wave, there are others with her that might not know what dangers are around them. I did wonder whether those life-savers she sings about are there for her, or they are rescuing someone else. Obviously, The Ninth Wave is about water and a woman being stranded at sea. Bush always intrigued by water, The Ninth Wave is the concentration and expansion of her fascination and fears. Hello Earth might be the most majestic and dangerous example of Bush bringing music and water together. We see the full expanse of the ocean. Bush does not state which ocean it is, though it may be the Irish Sea or the Atlantic Ocean. When The Ninth Wave was staged for her 2014 residency, Before the Dawn, she is in the water because the ship, the Celtic Deep, sinks. Suggesting we are in the Irish Sea. Rather than repeat what I have written about Kate Bush and her association with water, I want to focus on Hello Earth. It is the danger of the water. This cast of fishermen, life-savers, cruisers and sailors who are out on the water as the storm brews. How many artists write about the peril of the water? Here, we learn about a storm and weather turning. Elsewhere, Bush’s heroine sinks beneath the water and is trapped under ice. At all points is this issue of what lies beneath. How there are things that could kill her. The cold of the water too. How we need to respect the water. People have written about The Ninth Wave. I don’t know if they have discussed the threat of the water and how it is this survival piece. When I think about Kate Bush and the sea, I feel like she has this curiosity with it. However, it is the fear of what lies beneath. The Ninth Wave could be viewed as this complete story and plight of a woman who gets rescued. I focus on the fact that it is about the darkness and danger of the sea. How you never know what is beneath and it is so hard to avoid.

IN THIS PHOTO: Kate Bush in a promotional photo for Hounds of Love

Saying that, I have also argued before how The Ninth Wave has never been visualised fully. It did get staged in Hammersmith in 2014. However, as of now, there have been no plans for The Ninth Wave to take on any other form, sadly. I have said how this conceptual suite would be great as a standalone piece. It is a very ambitious suite. The first time Kate Bush attempted this, it makes me think how few Pop albums of the 1980s were conventional. Not conceptual at all. Few attempted anything like The Ninth Wave. In terms of conceptual albums, you have Marillion's Misplaced Childhood (1985), Queensrÿche's Operation: Mindcrime (1988), and Pink Floyd's The Wall (1979/1980). I do think that it was a major step forward for Kate Bush to record The Ninth Wave. I refer to it as cinematic, but that is what it is. I yearn for it to come to the screen. Either as an animated short or a filmed piece that features an actor at the centre. What amazes me is how bold it was for Bush to release Hounds of Love. She could have carried on the first half with its most conventional songs and repeated that for the second half. Instead, she divided the album into a half of regular songs and one half that had this suite. How many of her peers were doing this? It is maybe a little more common now, though I don’t feel that there are many artists doing this. Could we do this in a streaming age where people handpick songs? I am breaking up The Ninth Wave and isolating Hello Earth, though I would urge people to listen to The Ninth Wave in full. In 1985, it was so rare for a major artist to do anything as ambitious as The Ninth Wave. Bush, as a female artist, would be expected to probably temporise any ambitions and to follow the herd. I do think that The Ninth Wave has so many incredible layers and details you will miss. When listening to Hello Earth, I did not even notice Bush calling out to sailors, life-savers, cruisers and fishermen down there. They need to get out of the water but, with no land in sight, their fates seemed sealed. Did they ever get rescued?! That is why I want to see The Ninth Wave brought to the screen. Those characters in the action and we get to know what happened. At the start of Hello Earth, we hear a helicopter overhead: “Columbia now nine times the speed of sound.”/“Roger that, Dan, I’ve got a solid TACAN locked on, uh, TACAN twenty-three”/“The, uh, tracking data, map data and pre-planned trajectory are all one line on the block”/“Roger your block decoded”. I do love this song and think it is one of Kate Bush’s greatest achievements as a songwriter and producer. I love how the choral section, performed by the Richard Hickox Singers, is taken from a Georgian folk song called, Tsintskaro, which Kate Bush heard performed by the Vocal Ensemble Gordela on the soundtrack of Werner Herzog’s 1979 film, Nosferatu the Vampyre.

I am changing lanes and coming to the second side of this feature. Kate Bush’s most recent single is Little Shrew (Snowflake). I am going to discuss Kate Bush’s most recent interview, how this song is more necessary now as it was in 2024, and Bush as this humanitarian. I am also thinking about how she re-versioned this song, or she just used it in a different context. I want to start out by mentioning her son, Bertie. I am going to focus on him when I discuss Bertie from Aerial. However, Little Shrew (Snowflake) is an example of Bertie’s voice being heard in 2024. I should call him Albert, as that is his full name. Snowflake is from 2011’s 50 Words for Snow, and he would have been eleven or twelve when he recorded his vocal for that. His voice is the first one we hear on the album. Maybe strange to hear this vocal thirteen years later. Albert is now in his twenties, but he is captured in this song that is very powerful and timely. I do wonder if Little Shrew could have been used in an original song. It is curious. Kate Bush did want to release a single and an animated video that raised funds for War Child. She could have written an original song and tailored it to the cause. Made it more about warfare and children being killed and affected. I wonder what the selection process was when Bush created this Little Shrew character. I think her young son was in her mind, so Snowflake did suggest itself. Its lyrics do seem relevant when it comes to warfare and genocide around the globe. Though affected in Ukraine and Gaza. On 25th October, 2024, this is what Bush posted to her website: “Although I’d initially thought to make the character a human child – a little girl – I settled on the idea of a Caucasian pygmy shrew (Ukrainian shrew): a tiny, fragile little creature. I felt that people might have more empathy for a vulnerable little animal than a human…”. The animation for the Little Shrew was by Nicolette Van Gendt. Inkubus as the animation company. I wonder if Bush will collaborate with them in the future? Concept artwork was by Jim Kay. I would love to see them collaborate.

ILLUSTRATION CREDIT: Kate Bush

In 2011, the lyrics had a different resonance than they did in 2024. These words more powerful in Little Shrew (Snowflake): “Look up, and you'll see me, you know you can hear me/The world is so loud, keep falling, I'll find you”.  This is not simply the same song that appeared on 50 Words for Snow. It would not fit if it was the same version, so certain words and lines remained. Bertie sings “I am ice and dust and light/I am sky and here”, whilst his mother sings “The world is so loud, keep falling, I'll find you” after Bertie sings/speaks “I want you to catch me/Look up, and you'll see me, you know you can hear me”. The song becomes something different. More sparse in terms of its lyrics, it is a more direct dialogue between a mother and child. By keeping the most moving lyrics of Snowflake, this song is reimagined and has new light. I have not dissected this song enough. The fact that Kate Bush chose a shrew as the central character rather than a child. She said, in an interview with Emma Barnett, that people would feel more sympathy with a shrew than a child. That we emphasise more with animals than people. That is quite telling. A single that is raising money for children affected by war. Sahe did not include a child as the video’s lead. Instead, this displaced and scared shrew that is perfects trying to find it smother. Whilst Kate Bush and her son have this dialogue. I am going to drop that Emma Barnett interview in here. What isa so pleasing about it is that it is a chance to hear Kate Bush speak. She created this single piece of work that is a standalone single. She did also announce that she is thinking of a new album. What I love about the interview is that Bush was so excited about this project. How she wrote and directed this video. How long it took. It was almost like a labour of love it seems. However, the results are startling. Kate Bush this genius and visionary still. It bodes well for a future album and whatever comes. The plight of Little Shrew definitely resonated. I want to bring in The Guardian’s review of the extraordinary Little Shrew (Snowflake) video:

“All of Kate Bush’s sense of wonder, and how she tempers it with not just melancholy but outright sorrow, is threaded through her devastatingly moving new animated short film, Little Shrew.

Bush hasn’t performed live in a decade, or released new music since 2011 – and there’s an initial twinge of disappointment on discovering that this film isn’t built around a piece of new music. (In a BBC Radio 4 interview promoting it, she hinted that she will begin writing new material again soon.) Instead, it’s soundtracked by an edit of Snowflake, the opening song from that 2011 album 50 Words for Snow – a duet between Bush and her son Bertie.

Bush has long wrung stunning material out of family dynamics. Cloudbusting is full of the boyish admiration sons have for their fathers long after we become men; This Woman’s Work, about a crisis amid childbirth, is so stricken with awe at new life; Aerial was full of this material, from the maternal study of A Coral Room to a wonderfully guileless song about Bertie himself.

CONCEPT ARTWORK: Jim Kay

Snowflake continues that tradition, as Bertie takes the form of a snowflake, whirling in the night, and Bush hopes to catch him: “The world is so loud / Keep falling / I’ll find you.” Once again it gets to the heart of parenthood: its bewilderment, and how desperate it makes us to shelter our children in the world’s blizzard, snowblinded by love. There is perhaps a hidden wisdom, too, unspoken in the song – if we grip our children too hard, they could melt away from us.

It always felt bigger than Kate and Bertie, but Bush adds a terrifically powerful new dimension by making it, in Little Shrew, a lament for children affected by war, particularly in Ukraine (the film was made in collaboration with the charity War Child). As Bush says of Bertie in an accompanying essay: “I think his performance is extremely moving and although I’d originally written the song to capture his beautiful descant voice before he entered adolescence, it has taken on a haunting new meaning within the context of this animation.”

Bush writes and directs the film, storyboarded from her own sketches. These were drawn up by Jim Kay, the illustrator best known for Patrick Ness’s A Monster Calls (which inspired Bush) and pictorial editions of the Harry Potter series, and then animated with the studio Inkubus.

Little Shrew follows a Ukrainian pygmy shrew, captivated by a ball of cosmic light emanating from deep in the solar system. The creature scurries out of its cosy spot in the top pocket of a coat – and the animation coolly pans back to show that this is the corpse of a soldier sitting against a tree. The shrew makes its way through a war-torn landscape, and into the melee of Russian strikes, fired from under the chillingly blank face of an unmanned drone. Bush dwells on the gaping maw of a bombed building, animated from a photo by Maksim Levin, a Ukrainian photographer killed in the conflict.

Bush writes that she originally considered a child as the protagonist, and some might find this exquisitely adorable mammal, nose twitching with worry, to be a sentimental and even nauseatingly cutesy choice. But for me it allows Bush to actually intensify the horror. Watching its sinewy little body, twisting in fear and rent by the force of an exploding bomb, is close to unbearable; a similar sequence of a child could have felt exploitative or overdone.

And as a symbol for children caught in the conflict, the shrew has such potency: children move through wars with the confusion and vulnerability of animals, often without even having language to give shape to the trauma of hearing explosions or seeing corpses. They are as innocent as shrews, too – and, as both Ukraine and Gaza have shown, as unheeded by the aggressors.

Bush undermines the sentimentality all the more by writing an ambiguous ending. She herself is perhaps that orb of light, asserting once more: “The world is so loud / Keep falling / I’ll find you” – a moving reminder to the children of Ukraine that they are not forgotten, intensified by this song suffused with such ardent, active love for her own son. But the shrew is seen tumbling through blackening space, never landing. Bush underlines there is no end in sight for children affected by war, except for an ending forced on them. This film made me weep for every one”.

A about a year and a half since that video came out, I do feel like it is as relevant now as ever. Little Shrew one of Kate Bush’s most important characters. I wonder whether there is a way to get this song back into the public consciousness. It is Kate Bush’s latest work and one of her most affecting. You are completely invested in the video and the Little Shrew. You could listen to the single on its own, but it is the video that gives it context and flesh. For her 2025 Christmas message, Bush reflected on the continued impact and success of this phenomenal and vital film/single: “Little Shrew continues to take part in international film festivals, and has been reaching out to different audiences. Thank you to everyone who has responded to the animation by making a donation to War Child or other charities involved in helping children caught up in wars”. You can donate still, and I do think that there needs to be this renewed campaign. It did make an impact through 2024 and 2025. Rather than discuss Bush’s humanitarian aspect – which I have done a few times before -, I actually want to talk about animation. Bush has directed film before, but her most recent directional outings have been animated. In terms of what she could do as a director of animation, I feel Little Shrew (Snowflake) had to be in this format. That black-and-white animation too. Like an old film. War film. Bush has referenced animated films in her music before. Pinocchio on more than one occasion., The cover for The Kick Inside and Get Out of My House from The Dreaming. I was interested in her association with animation. I want to turn to Animation Magazine and their 2025 interview with Kate Bush:

“You have experimented with animation before (Elder Falls at Lake Tahoe, Wild Man) What do you love about creating art in this medium?

I’ve really loved animation ever since I saw my first Disney animation in the cinema. When I was a little girl that was the only way to see a Disney Film. They were never shown on TV and you could only see whichever film was doing the ’rounds’. This had the effect of making them very special. Something precious. I guess that feeling of them being special has stuck. In the context of Little Shrew, animation was the perfect medium – allowing us to create a tiny little creature who could travel through exactly the environment I imagined. It would never have had the same hit in live action. That’s the beauty of animation…anything and everything is possible.

What are some of your favorite animated shorts and movies, the ones that left a deep impression on you?

Like I said, the magic of those early Disney movies never really goes away. Snow White, Dumbo, The Jungle Book have especially stayed with me. I’d have to add Pixar’s Ratatouille and Monsters Inc. to the list. I also love Allegro non Troppo and Belleville Rendez-Vous (The Triplets of Belleville).

CONCEPT ARTWORK: Jim Kay

How did you decide which song to accompany the anti-war message of the short and why?

When I was trying to think of what the music would be, “Snowflake” just popped into my head and I thought – yeah, that could work. I knew we’d have to edit it down. The original track ran at over seven minutes and as animation is a very expensive medium, I knew it would need to be no more than three or four minutes long. I think the main reason I thought of that track is because the lead vocal was sung by my son when he was a little boy, so the presence of a little child is already center stage.

I felt the vulnerability of a young boy’s descant voice could work very well as the companion to the poor little shrew. They both have a tenderness about them.

As you set out to realize your vision for the short, what was your biggest challenge?

Trying to achieve an emotional hit. You’re never really sure until the piece is finished. I hope the audience feels moved when they see it.

I believe you used actual photographs by a Ukrainian war photographer as background for the short?

Absolutely! Maksim Levin’s photo was there right from the very beginning in my original storyboard. I was looking for a photo that could ’step out’ of the animation and show, just for a moment, what the real war was like. The idea was that up until that moment, we wouldn’t really know where we were. All the environments were from the shrew’s POV –  like she was moving through a land of the giants. We know it’s a devastated place, but we never see the scale of it until the photo is revealed. I hoped that would add drama to the level of destruction of the war-torn city.

I found the photo online and thought it was incredibly powerful. I didn’t know anything at all about the photographer until we applied for clearance to use the photo in the film. Then we found out that Maksim had actually died just a couple of months after taking the photo. He’d been shot by Russian soldiers. It was such a shock. It really brought home the reality of the horror the Ukrainians are going through. It gave the use of the photo even more meaning.  It’s such an important part of ‘Little Shrew’. It’s the centerpiece, really. I hope that he would’ve been happy for his incredibly powerful photo to be used by us”.

Let’s ends things here. Another animal character pairing with a flock of characters from The Ninth Wave. In future pieces, I am going to go back around all the studio albums, as I have included her nine studio albums (excluding 2011’s Director’s Cut) three times. I might have to pair The Dreaming and Aerial for the next feature. The more I continue this feature run, the more I learn about Kate Bush. The characters in her songs takes my mind in different directions, and I discover new depths, not only in her work, but her as a songwriter and visionary. That has definitely…

BEEN the case here.

FEATURE: Towing the Line? The Risk for Artists Speaking Out

FEATURE:

 

 

Towing the Line?

PHOTO CREDIT: Efrem Efre/Pexels

The Risk for Artists Speaking Out

__________

THIS is a time when…

IN THIS PHOTO: Actor Melissa Barrera was fired from Scream 7 in 2023 by Spyglass Media Group for described the situation in Gaza as "genocide and ethnic cleansing"/PHOTO CREDIT: Jonny Marlow for Vogue

there is so much conflict and destruction around the world. In terms of the U.S. alone, under President Donald Trump, there is this sense of him trying to destroy the country and divide people. His anti-immigration stance, anti-trans bills, illegalisation of abortion and his waging war in Iran and everything else he is doing, there is this time when people need to speak out. That is happening, though there is always a risk. Look beyond the U.S., and we have genocide in Gaza and there is this thing where children are being murdered and people speak out and are punished. It is considered a crime in the U.K. for supporting pro-Palestine groups. There have been arrests of those who are protesting against Israel’s genocide. We have seen photos of elderly people and those with disabilities being dragged away by police! Seen as terrorists and a threat, we are in an absurd time when the government clearly is trying to neutralise anyone who protests against Israel. They may claim that it is because they feel pro-Palestine protestors are terrorists. It is insane to think that. Instead, they are very much siding with Israel and they are afraid of upsetting them. There is this bias that spread through the media too. Rather than call out the media for being so pro-Israel, it is clear that they are siding with the country. Anyone calling out genocide and calling for peace is seen as a danger. It is the same in the U.S. Trump as this dictator who does not want to hear from anyone who is against anything he stands for. There have been protests in music. However, most of the major artists are fearful of speaking out.

In terms of those who have called out genocide and rallied against Israel, there have been few cases. Kneecap, CMAT, Nadine Shah and Billie Eilish among the artists who have shown their support for Palestine. However, there has been this absence of protest of condemnation from many major artists. Perhaps it is the case that they do not want to get political. However, this is about humanity and morals and not politics at all. I think one of the big reasons for staying silent on the issue is being dropped by their label. The same with really criticising Trump and going on the attack. Even calling out the very obvious can provide huge ramifications for artists. Look to Hollywood and the fact that high-profile actors have faced huge loss and sacrifice for daring to call out evil in the world. Melissa Barrera is a phenomenal actor who I first saw in Scream V (or, annoyingly, Scream). Admittedly late to her work, I have followed her since. She featured in Scream VI but was fired from the franchise  Melissa Barrera was fired from Scream 7 in November 2023 by production company Spyglass Media Group over social media posts regarding the Israel-Gaza conflict that they deemed anti-Semitic. Barrera’s posts described the situation in Gaza as "genocide and ethnic cleansing". Following this, director Christopher Landon and co-star Jenna Ortega departed the project. Barrera was factually correct. However, there is this bias and leaning towards Israel and not wanting to piss them off. This pathetic thing of someone being labelled as antisemitic. Antisemitic is defined as “prejudice, hatred, or discrimination directed against Jewish people”. Barrera and countless others literally say nothing about Jewish people and Judaism. People thinking calling out Israel is attacking Jewish people. There is this stranglehold on free speech and anyone who wants peace in the world. Actors such as Mark Ruffalo continue to speak out. One reason for returning to this subject is a story that Kate Beckinsale was dropped by her agent for discussing genocide and doing the same as Mark Ruffalo has. Even though they are under the same agent, Ruffalo was not dropped and she was. Hard enough being a woman in Hollywood anyway – in terms of lack of exposure, not being as visible and offered important roles and helming films, equal pay and facing misogyny and sexual abuse -, if they get involved with something like speaking out against genocide, then there is this risk that men might not face.

IN THIS PHOTO: Kate Beckinsale/PHOTO CREDIT: Randy Holmes

Kate Beckinsale, like Melissa Barrera, is someone I hugely admire. Both tremendous actors, I have loved Beckinsale’s work for decades and she is an actor and human I have a lot of love for. Someone who deserves incredible roles and a lot more than she has been offered in her career. It is nothing to do with the severity of the action or what they are saying. Literally, Beckinsale has not been as vocal as Mark Ruffalo yet has faced punishment – and he has not. NME report the story:

“Kate Beckinsale has claimed that she lost her agent over social media support for Gaza, and was ignored by Mark Ruffalo when she reached out to him about it.

Beckinsale took to Instagram on Friday (April 3) and alleged that she was dropped by her talent agent after simply liking a social media post about a ceasefire in Gaza. The comments, which have now been deleted but have since been widely circulated on social media, were left under a post by Ruffalo promoting his new film ‘Palestine 36’.

“Gosh, it must be so nice not to be fired by your Agent for liking a post about a ceasefire and not supporting the murdering of children,” Beckinsale wrote (via Entertainment Weekly).

“I guess having a penis in Hollywood really counts for a lot because you’ve not been fired by the same Agent that I had, and she sent me a gift the week before so we didn’t have any beef,” she alleged, going on to reference the Screen Actors Guild strike that lasted from July to November 2023.

“But I liked a post about a ceasefire and I’ve got fired on the same day as Susan Sarandon was fired, two days after the end of the strike after nine months of none of us being able to work at all.”

The Underworld actor said the timing made everything worse, given that at the time, her mother, Judy Loe, had been given six weeks to live, and her stepfather had just suffered a catastrophic stroke.

“I was fired in two sentences after 12 years of friendship with my Agent,” she wrote, adding that her agent “definitely knew what I was dealing with, alone”.

She also revealed she had previously tried to address the situation privately with Ruffalo. “DMd you about this months ago but you ignored me,” she told him directly. However, she went on to clarify that she wasn’t blaming Ruffalo personally, and supports his activism.

“I applaud your voice and your activism but the price you pay for having a vagina while even remotely liking a post that was as un political as it could possibly be,” she said, but pointed to his silence on the issue as an example of “male privilege, even in the good guys”.

The stakes might be higher in Hollywood. In terms of the revenue actors can bring in and how ‘costly’ it might be to be associated with actors who are deemed to be controversial. It does seem like there is sexism and misogyny when it comes to taking actions against those who speak out against genocide. Terrible that Hollywood wants to silence those who call out dictatorships and evil regimes. Women seem to bare the brunt more than men. Another obstacle that women have to face. I forgot mention Angelina Jolie. She is planning to leave Los Angeles and the U.S. in July, once her twins Knox and Vivienne turn eighteen, ending her need to remain for custody arrangements. She has expressed a desire to move to Europe or Cambodia for more privacy and because she no longer ‘recognises’ the U.S. She has posted about the destruction and loss of life in Gaza. Someone leaving her country of birth because of the evil of the government there. Speaking out about how the state of American free speech under his administration is at risk. Though major Pop artists like Sabrina Carpenter and Taylor Swift have either been involved with fundraisers to raise money for humanitarian aid going to Gaza and they have shown their concern for what is happening, there is this absence of protestation and disgust from many artists. I do also feel like there is this gender issue too. Kneecap are a male trio from Ireland who were actually taken to court, so that is an example of men in the industry being punished. They were not charged or face any further action. However, the music industry is still so skewed towards men. They are given a slide if they do something bad or they  do not face the same backlash and loss as women. However, I do feel like, apart from CMAT, Nadine Shah, Billie Eilish and a few others, many artists are keeping quiet. Also, very few artists are actually being vociferous and getting angry. So many statements are quite collected and seem to tow a line. Like there is this boundary and border they cannot cross when it comes to their language. Think about what Kate Beckinsale and Melissa Barrera said, and there was nothing inflammatory or antisemitic. Instead, it was them just calling it how it is. The same in music. Bob Vylan and Kneecap condemned for their rhetoric and words, yet both groups continue to record and are being booked for gigs (though they both faced losing bookings in the aftermath of their comments). Think about the risk for high-profile women if they become ‘too loud’ or ‘aggrieve’.

The same with male artists. Harry Styles might feel he is not qualified or best placed to speak against genocide, yet it is not him getting political or choosing a side. It is a humanitarian issue and every artist should so something. I have written about this before, and I mused how artists might lose sponsorship deals, being dropped by their label and dividing fans. However, there is nothing controversial about them stepping in and getting upset and angry about Israel or the U.S. and what they are doing. I am looking to Hollywood and the ramifications for successful actors. How must they risk losing. Major-label artists might look at all they have and what they can lose and think twice about posting anything that could get them dropped or cancelled. Kate Beckinsale’s case affected me and highlights how there are greater risks for women if they speak out. Even though Mark Ruffalo is a great guy and had a good heart, the fact he is a man in Hollywood meant he did not get dropped by his agency. Women in music must look at this and know the dangers that threaten them. Over 1,000 artists, including Lorde, IDLES, and Björk, have signed on to remove their music from Israeli streaming platforms, as stated on nomusicforgenocide.net. There have been some cases of women in music being vocal and not facing cancellation. Dua Lipa strongly condemned Israel's military actions in Gaza. She called out their genocide and called for a humanitarian ceasefire and an end to the "slaughter" of civilians. It is a risky time for anyone in the music industry. Brian Eno and Massive Attack have faced censorship. Nick Cave and Radiohead attacked for their silence. Radiohead sort of backtracking and being inconsistent. Nick Cave saying he will not boycott Israel and he does not want to punish the Israel people. He has been accused of supporting Israel and being neutral when it comes to genocide committed. It does seem in Hollywood, especially for women, is worse. There have been high-profile musicians who have been vocal, though there have been notable silences. I guess it is the same for anyone who attacks Donald Trump or calls out what he is doing. This real risk of censorship and losing fans and labels. Every artist in the industry should be able to voice their opinions and not face punishment. However, I wonder if artists will truly…

HAVE that freedom?

FEATURE: Kate Bush’s Director’s Cut at Fifteen: How to Follow the Majestic Aerial

FEATURE:

 

 

Kate Bush’s Director’s Cut at Fifteen

 IN THIS PHOTO: Kate Bush in a promotional photo for 2011’s Director’s Cut/PHOTO CREDIT: John Carder Bush

How to Follow the Majestic Aerial

__________

AFTER Aerial came out…

in November 2005, there perhaps was an expectation that Kate Bush would release another album sooner. Aerial followed a twelve-year period with no new album. The Red Shoes came out in 1993, and you feel that there wads this sense of dissatisfaction with the album at the time. Kate Bush did the best she could ta the time, though you can feel that the album is a bit dated and not as warm and rich as it could have been. I never got that with The Sensual World in 1989. It does sound tremendous and I love Bush’s production on it. That said, there were some songs on the album that maybe did not come out quite how she envisaged. Aerial was the first album since Hounds of Love that did seem to be complete and one Bush was happy with. In interview since its release, she has named it as her favourite. Many might assume Hounds of Love would be her favourite. That was a happy record, yet Aerial has significant meaning. Personal resonance because her son, Bertite, was born in 1998. Even if she wrote material before his birth, most of the creation, recording and completion of Aerial happened when he was very young. It was a double album that took a long time to get complete, though it remains this masterpiece. The reviews were glowing and there was this celebration about Kate Bush being ‘back’ – though she had never gone anywhere! Bush did need a bit of time to rest after making Aerial. It was a bit of a balance being a new mother and making this ambitious album. The promotion around Aerial was interesting. Although not too many interviews were given, the ones we do have are longer. Somew radio interviews that are de tailed and fascinating. Bush opening her home – though I think one interview may have taken place at Abbey Road Studios -, and letting journalists and broadcasters in. The interviews I associate with Aerial are the chats she had with Mark Radcliffe and John Wilson.

The way she was talking about Aerial, you feel that there was this new inspiration and lease of life. I feel it was the case that Bush had spent all this time on Aerial and she needed proper time out. However, it was almost six years since Aerial came out before Director’s Cut arrived. On 16th May, 2011, Director’s Cut came out. It was hard following Aerial. In some ways, Director’s Cut can be seen as a revision or retrospect rather than a new album. Though it is not a remix album, Director’s Cut does not feature new songs as such. Taking tracks from The Sensual World and The Red Shoes, Bus re-recorded or rearranged those originals. It depends on the song, but they were either stripped and re-recorded completely or there were some big changes. Flower of the Mountain can be viewed as the only new song on it. It is essentially The Sensual World’s title track, yet it was Kate Bush using text from James Joyce’s Ulyesses that she wanted to for The Sensual World. Molly Bloom’s soliloquy. Many argue that the original – with Bush’s lyrics – is better and more powerful than Joyce’s text. Getting to use those words for a major drive for Kate Bush embarking on Director’s Cut. It is quite jarring seeing the difference between Director’s Cut and Aerial. I guess Bush was not looking to make a natural follow-up in terms of sound and tone. There is also a startling difference between Director’s Cut and 50 Words for Snow, even though they were released six month apart. It was quite a challenge releasing an album after six years that would be as good and impactful as Aerial. Perhaps why some critics were quite middling and not sold. Director’s Cut struggles to match what you might call ‘original’ studio albums from Kate Bush. People had this knowledge of and relationship with The Sensual World and The Red Shoes. As such, the new versions of these songs has this generational divide. People who remember the originals and adapt to the new versions and those hearing these songs for the first time. I do like Director’s Cut and feel like it was a good move from Kate Bush. If you do not like the album, then the two albums that the songs were taken from are still available.

There are two particular interesting reasons why Director’s Cut should be talked about. It was the first album that we get to hear Kate Bush in her fifties. An older artist now, there is this new maturity and nuance to many of the songs. The Sensual World came out when Kate Bush was thirty-one. The Red Shoes when she was thirty-five. Bush was this young woman and you hear the songs in that mindset. Now, with a lower voice and this natural ageing coming into the songs, they do seem completely new. Particular tracks sound more powerful than the originals. I am thinking about This Woman’s Work and Never Be Mine. Also, you get a glimpse into how Kate Bush viewed The Sensual World and The Red Shoes. Why she chose the tracks she did. People have argued why she wanted to reproach Moments of Pleasure from The Red Shoes. Whether it works. Rubberband Girl given this alternative take. Bush not a fan of her version of it and she considered taking it off of Director’s Cut. Also, why did some songs from The Sensual World and The Red Shoes not appear? It was such a hard task to follow Aerial and wow critics. To make fans happy and almost justify its existence. I will drop in a couple of reviews for Director’s Cut. Not that this was Bush releasing an album and then leaving it there. It was only six months before this further left-turn with the extraordinary 50 Words for Snow. Bush needing to clearing a path and look at older material and make some corrections before putting out a new album. Even so, there is this feeling around Director’s Cut that it is not a full or truly original album. I will defend it, because it is unique for Bush. The first time she had done this much retrospection. Nice to hear songs from previous albums given this updated sound and feel. I love Kate Bush’s voice through the album, and you do get some truly revelatory moments. If some songs do not work and a few of the originals did not need to be touched, it was a brave and impressive decision. However, there is always that shadow of Aerial. By 2011, many getting restless for a new Kate Bush album. Aerial widely celebrated and seen as one of Kate Bush’s best albums. Director’s Cut arriving and perhaps not quite the album they thought it would be.

In spite of those reservations, Bush did continue her incredibly hot commercial run. All of her studio albums – and her greatest hits album, The Whole Story -, reached the top ten in the U.K. Director’s Cut went to number two in the U.K. and was a major success in many countries. Six in the Netherlands and eight in Finland, it also reaching number two in Norway. Its packaging and formats is incredible too: “The album was originally released on a double LP, a CD in a case-bound book and a deluxe version consisting of three discs: Director’s Cut plus The Sensual World and The Red Shoes. The latter was re-mastered from digital to analogue. Bush stated in an interview for BBC radio that she never liked the “hard-edged sound” of the digitally recorded The Red Shoes and feels both the new recordings of the songs from this album and the re-mastered version of The Red Shoes have a “warmer, fuller sound. In 2023, a hazy red colour vinyl 2LP was released”. Kate Bush did want to breathe new life into these songs. At the time they were recorded, she was trying to make them expectational but, with passing time, this dissatisfaction came in. Even if some of the new versions did not connect with fans, it was important for Bush to do this. If it was not as good and grand as Aerial, what Director’s Cut showed is that she was always surprising and never repeated herself. 50 Words for Snow dramatically different to Aerial.

It is interesting what Pitchfork said in their review of Director’s Cut. They note how this album is Kate Bush “offering a rethink of a somewhat controversial period in her career”. Would you say The Sensual World and The Red Shoes were ‘controversial’ times? I feel maybe there were personal struggles and unhappiness that affected Kate Bush. Now, happier and more stable, she did want to look at these albums and reapproach some songs with new eyes and a fuller heart:

“What Bush has done on Director's Cut, put simply, is to strip the 80s from these songs. (That goes for the Red Shoes material, too, even though the album was released in the 90s.) The gigantic drums and digital polish, what both dated the music instantly and gave it that stark contrast between accessibility and the deeply personal, have been replaced with less showy rhythm tracks, and a warmer, more intimate atmosphere. On the original "The Sensual World", the elements drawn from Celtic folk felt like striking intrusions in an all-digital world. Renamed "Flower of the Mountain" here, those rustic elements no longer feel quite so out of place, whether you found the original an intriguing hybrid or an awkward merger of old and new. The songs still don't have the feel of a band playing together, but they have a new unity, even the synthetic elements part of a lovingly handcrafted sound. "The Red Shoes", another Celtic-inflected standout, with one of Bush's wildest performances, gains a new intensity precisely because the instruments no longer feel so sterile. But not every element of this patchwork has been pieced together perfectly. The eerie keyboard textures on "And So Love Is", the kind of sour 80s kitsch beloved by Gang Gang Dance, seem surprisingly natural in this new environment. But Eric Clapton's bluesy wanking sounds even more out of place now, stadium pop bluster in a homemade world. It produces tension for sure, but the wrong sort.

It's the singing that just as often startles, though. Bush is less show-offy on Director's Cut than any of her pre-hiatus albums. For a woman known for her range, and her fearlessness at using that range, her performances are always tempered and often low-key here. As with so many songs on Director's Cut, "This Woman's Work" becomes almost shocking in its difference, not least because it's transformed from one of Bush's biggest showstoppers into something far more mournful, the singer restraining herself as if almost but not quite broken by love. The backing track is just as minimal, but deeper, the instrumental textures less brittle. A hushed, lonely Bush sounds as if she's drifting through a vast, lonely space. But instead of the original's childlike verses surging to grown-ass-woman longing on the choruses, Bush is more evenly paced here, communicating deep regret more through a bereft tone than diva theatrics. It's desolate and intimate, like much of Director's Cut, where the original's bravura made it feel both tender and defiant, like much of Bush's early work.

Even with an older and more reserved Bush occasionally putting the brakes on that melodrama, these reworked songs don't totally relinquish that unashamed grandiosity that makes Bush such a love-hate proposition. Director's Cut provides a unique opportunity to do an A/B comparison between a late-career artist and her younger self. But which you'll prefer likely depends on whether you favor a more assured artist working within her strengths, or a brash younger artist delighting in the defying of pop conventions”.

I feel a lot of critics saw Director’s Cut as a remake or covers album rather than a new work. They were comparing the songs on Director’s Cut to their originals, as opposed just seeing them all as part of this complete album. AllMusic made some interesting observations when they reviewed Director’s Cut. I do think that we should be kinder to this album:

“During her early career, Kate Bush released albums regularly despite her reputation as a perfectionist in the studio. Her first five were released within seven years. After The Hounds of Love in 1985, however, the breaks between got longer: The Sensual World appeared in 1989 and The Red Shoes in 1993. Then, nothing before Aerial, a double album issued in 2005. It's taken six more years to get The Director's Cut, an album whose material isn't new, though its presentation is. Four of this set's 11 tracks first appeared on The Sensual World, while the other seven come from The Red Shoes. Bush's reasons for re-recording these songs is a mystery. She does have her own world-class recording studio, and given the sounds here, she's kept up with technology. Some of these songs are merely tweaked, and pleasantly so, while others are radically altered. The two most glaring examples are "Flower of the Mountain" (previously known as "The Sensual World") and "This Woman's Work." The former intended to use Molly Bloom's soliloquy from James Joyce's novel Ulysses as its lyric; Bush was refused permission by his estate. That decision was eventually reversed; hence she re-recorded the originally intended lyrics. And while the arrangement is similar, there are added layers of synth and percussion. Her voice is absent the wails and hiccupy gasps of her youthful incarnation. These have been replaced by somewhat huskier, even more luxuriant and elegant tones. On the latter song, the arrangement of a full band and Michael Nyman's strings are replaced by a sparse, reverbed electric piano which pans between speakers. This skeletal arrangement frames Bush's more prominent vocal which has grown into these lyrics and inhabits them in full: their regrets, disappointments, and heartbreaks with real acceptance. She lets that voice rip on "Lilly," supported by a tougher, punchier bassline, skittering guitar efx, and a hypnotic drum loop. Bush's son Bertie makes an appearance as the voice of the computer (with Auto-Tune) on "Deeper Understanding." On "RubberBand Girl," Bush pays homage to the Rolling Stones' opening riff from "Street Fighting Man" in all its garagey glory (which one suspects was always there and has now been uncovered). The experience of The Director's Cut, encountering all this familiar material in its new dressing, is more than occasionally unsettling, but simultaneously, it is deeply engaging and satisfying”.

Interview spoke with Kate Bush in 2011. I think all that matters is why she wanted to make this album. If you like it or not, it was something that Bush had to do. For that reason, we should show some love and respect to Director’s Cut:

“EHRLICH: Why did you decide to re-record existing material rather than do something new, or just release the old versions remixed, or whatever?

BUSH: Well, I really didn’t see it as a substitute for a greatest hits package, but it was something I’d wanted to do for a few years. I guess I just kind of felt like there were songs on those two albums [The Sensual World and The Red Shoes (1993)] that were quite interesting but that they could really benefit from having new life breathed into them. I don’t really listen to my old stuff, but on occasion, I would either hear a track on the radio or a friend might play me one, and there was generally a bit of an edgy sound to it, which was mainly due to the digital equipment that we were using, which was state of the art at the time—and I think everyone felt pressured to be working that way. But I still remain a huge fan of analog. So there were elements of the production that I felt were either a little bit dated or a bit cluttered. So what I wanted to do was empty them out and let the songs breathe more”.

As Director’s Cut turns fifteen on 16th May, I did want to revisit it. It had this daunting task of having to come six years after a colossus of an album. The first of two albums from Kate Bush in 2011, it was a busy and productive time for her. Since 2011, we have not received another studio album. Though that might change in the next year or two. If some of the new versions on Director’s Cut do not gel or sound as strong as the originals, I feel that there are some real gems to be found…

THAT we need to acknowledge.

FEATURE: Spotlight: Revisited: Maya Hawke

FEATURE:

 

 

Spotlight: Revisited

IN THIS PHOTO: Maya Hawke at the Rolling Stone studios, live at SXSW/PHOTO CREDIT: Pooneh Ghana

Maya Hawke

__________

PERHAPS best known as an actor…

Maya Hawke is an incredible artist who I wanted to revisit. I spotlighted her in 2024, not long before the release of her previous album, Chaos Angel. I love everything about her music. The brilliant album covers, the aesthetics, her distinct videos, lyric-writing and vocals. She is a unique artist that will release her fourth album, MAITREYA CORSO, on 1st May. With tour dates taking her around North America, I do hope that she comes to the U.K. at some point. Many might associate Hawke with her role in Stranger Things. She played Robin Buckley. I will include a recent interview where she discussed that character and her time on Stranger Things. You can pre-order MAITREYA CORSO, as I feel it is going to be among the best albums of this year. The Line of Best Fit were among those to announce news of this incredible new album earlier in the year:

“The record is her fourth album and the follow-up to last year’s Chaos Angel. Written. It was recorded with her regular collaborators Christian Lee Hutson – who Hawke recently married – and Benjamin Lazar Davis, it was tracked over the autumn and winter of 2025 in Woodstock and New York City, with contributions from bandmates Will Graefe, Odessa Jorgensen and Michael Riddleberger.

Hawke has explained that the album is built around a central persona named Maitreya Corso. Described as a “magical misfit”, the character serves as a conduit for exploring themes of ego and creation. “Devil You Know”, written in part between New York and Los Angeles, is about "trying to keep ambition and greed out of the creative process," says Hawke.

Maitreya Corso "is generally is about learning to protect the precious from the poisonous. Protect creation from pride. Protect love from control. Protect collaboration from jealousy.”

The release date for the album coincides with the announcement of Hawke’s first US tour in three years. She's also set to appear alongside Philip Glass, Laurie Anderson and Debbie Harry at the Tibet House US Benefit Concert at Carnegie Hall in Manhattan on 3 March”.

Before I bring things up to date, I want to include an interview from 2024 I did not use in my previous feature. The Talks chatted with Maya Hawke about Chaos Angel and her career. The daughter of Ethan Hawke and Uma Thurman, this is definitely not a case of a daughter of famous actors getting any sort of leg-up. In addition to be an amazing actor who has carved her own path, she is this artist who peruses this passion that her parents are not associated with. I actually think that her music is her greatest talent, though she is a tremendous and versatile actor:

“Maya, would you say your creative work as a songwriter gets easier as you get older and more experienced?

It’s definitely not easier! If anything, the more I do it, the harder it gets. Because with each album, I feel like I’m raising the bar of what I can do. Have you ever heard about that psychological test where they have people take a math test, but first they rate how well they think they’re going to do. And the people who rate themselves the best, do the worst. And the people who think they’re going to do the worst, do the best. What they say about that is that the more you know about something, you more you know you don’t know. When I was younger and I was writing songs, I thought, “Wow, this song is amazing. I’ve just rhymed love and above!” (Laughs) And then you learn more, your bar gets a lot higher, your expectation for yourself gets higher. So the process only gets more difficult — but in a good way.

Apparently something that brings you comfort is craftsmanship — the idea of knowing how to do something well enough that you can do it even when you’ve had a bad day…

I think when I said that I was talking about acting, because I’ve spent so much of my life acting and learning about acting in school, and I feel like I have some level of craftsmanship with it. I can do it on a bad day. I can do it with a broken heart.

After you put out your sophomore album, you said that your only hope from it was just to have the privilege to make a third.

Yeah, and I mean, that has been a really helpful way to think about it, because you can get so caught up in the game of the arts industry. For me, I think working in the arts is like having a bus pass; it can be hard, people have to trust you enough to give you money to make something, but if you can get a bus pass, all you really need is to get it renewed. And sometimes it can be renewed with a demotion, you can make another record, but you have to make it for less money, and that’s okay, too. All that matters is that you can get on the bus, and that you can contribute, you can express yourself. I’m a lifelong learner, and I’m just hoping for the next opportunity to learn something. I see that as a much better God to worship than reviews or popularity or awards. Although, maybe if I started winning some, I would start to see that as a better gauge? (Laughs)

Were you ever worried about crossing into different fields in the way that you have? I think often people can be judgmental about actors who want to start making music, or singers who want to act.

I think that was very true in the nineties, that was the era for that kind of judgment. But I feel like we are in kind of a new era, I hope so anyway. I think the world is in so much chaos and in so much pain, that actually now enthusiasm is the move! It’s way cooler to see a movie and love it. It is stupid to hate things! There’s not enough good stuff anymore to really be that judgey. There are so many things that I feel make me like an unlikable cultural character, that singing to the mix… Whatever! People are going to say shit. But it makes me happy, so whatever.

I think that full-on belief in what you’re doing is how the best musicians think about their work, though. Do you also think that way when you’re working on a film where the dream is not entirely yours?

I’ve done parts in movies where I didn’t believe in the dream. I have! It’s not fun, I hate it. But I’ve done it. It’s usually more about me than it is about the project. So with my music, I try to facilitate a space where other people feel like they can believe in the dream. I want everyone working with me to feel a sense of ownership over the record as a whole. Because as an actor when I’m on set, I’m saying the words that the writer wrote, I am being directed in the vision of the director. But it’s my song too, I am putting huge parts of myself into the characters that I play. And I wanted to facilitate a space for that in the record making process so that the instrumentalists who came in were actors in the play called Chaos Angel”.

PHOTO CREDIT: Greg Swales

I do love where MAITREYA CORSO stems from and what inspired it. The Buddhist concept of a future, compassionate teacher. Spirituality and self-discovery. Chaos Angel also has spiritual connotations, though something a little more disordered. The title suggests movement and a voyage, but something more centred and calm. Maybe reflecting Maya Hawke’s life and career. The New York-born multi-talented recently wed musician Christian Lee Hutson. Detouring slightly, I feel that it is important to also discuss Maya Hawke’s acting. It feeds into her music and I feel the disciplines are interlinked. I do want to draw from a recent interview with Vogue Hong Kong. Maya Hawke discussed her role in Stranger Things and the affect it has had on her:

“In a world where everyone is constantly told to “just be yourself,” Hawke finds freedom in the opposite. That willingness to stretch and reshape herself has shaped her acting journey, including her breakout role as Robin Buckley in Stranger Things.

Introduced in Season 3, Robin quickly became a fan favourite for her wit, humour, and unflinching honesty. “I had a great acting teacher at drama school who gave me this piece of advice: don’t let your habit be your only choice,” Hawke says. “I think, a lot of the time, the Duffers wrote Robin inspired by my most nervous version of myself, which was, you know, the young woman who was on the show for the first time joining in Season 3. I was so nervous around them, and then I think they really wrote Robin inspired by that nervousness.”

But instead of feeling boxed in, Hawke saw it as a chance to grow. “I think it really allowed me to learn how I was coming off to people, and reflect on my desire to come off as less nervous. I tend to have more options in my bag of tricks than sort of just buoyant enthusiasm; I wanted to have a more grounded sense of myself and my behaviour at work, and a more diverse bag of tricks as an actor, and I really learned that through the way the Duffer brothers’ writing style works.”

As Robin evolved on screen, so did Hawke, who wasn’t afraid to throw out the script when inspiration struck. Her willingness to embrace the weird and unexpected gave Robin a life of her own, often resulting in some of the show’s most delightfully offbeat moments. One of her favourite unscripted bits came during Season 5.

“My favourite [improvised moment] that made it into the show was in Episode 5. I’m sitting in the kind of lobby area of the radio station with an ice pack over my eye. And I’m trying to explain something to Brett Gellman, his character, and in the middle of my sentence, I just stop and go hi to him,” she recalls. “I remember that on the day, I was really just trying weird stuff […] Thank you to Frank Darabont for keeping it in.”

When asked about a potential Stranger Things spinoff for Robin, Hawke’s imagination runs wild. “I’ve always thought a really fun spinoff would be her having to come back to Hawkins and become a low-level traffic officer under David Harbour. Robin and Hopper, as a duo that should never be, would be the most fun, weird duo option of different vibes,” she quips. I would love to watch Hopper be really annoyed by Robin all the time. I think they would play off each other nicely.”

This philosophy of creative play extends beyond the screen. In 2025, Hawke took a leap by making her off-Broadway debut in a revival of Sarah Ruhl’s Eurydice at the Signature Theatre. “I had never done a professional play before and was extremely intimidated by the task,” she admits. “I never could have imagined what a rewarding, educational, and community-building experience that would be and feel like. It’s paid off in dividends that I never would have expected.”

Now, Hawke is set to venture into The Hunger Games universe as young Wiress in the prequel The Hunger Games: Sunrise on the Reaping. The character, introduced in the original trilogy as a highly intelligent yet mentally fragile District 3 victor, required Hawke to thread a delicate needle.

“The most difficult thing about playing Wiress is that the only Wiress we see in the movies is a Wiress in the aftermath of a massive plot point from Sunrise on the Reaping,” Hawke explains. “This experience during this book informs when you meet Wiress in the later films and books, and she, you know, is pretty nonverbal and really struggles to communicate—that’s the trauma response to her having been tortured at the end of Sunrise on the Reaping.”

For Hawke, the challenge lay in balancing hints of Wiress’ eventual breakdown with the woman she was before surviving the Games. “Mags and Beedee are also tortured, but don’t become nonverbal, so there has to be something about Wiress that is already dancing on the edge of the line of her mental health, where she could have such a stark, different, stronger reaction to the same experience that her friends and coworkers have,” she explains. “So, figuring out how not to foreshadow what happens to her too much, while also indicating“You’re a clown.” For Maya Hawke, those three words from director Jennifer Kaytin Robinson on the set of Do Revenge opened the door to a new dimension of her craft. why it might have happened to her in a more extreme way than her friends, was definitely the most difficult needle to thread”.

A couple of things to wrap up with. Speaking with Rolling Stone last month, she chatted about singing with Sadie Sink (her Stranger Things co-star), that celebrated show, and her new work. Rolling Stone state how “Hawke goes deep on her fantastic new album, May 1’s Maitreya Corso, her grief over the end of Stranger Things, her new movie, Wishful Thinking, and much more in our deep-dive new interview”:

“As Stranger Things came to a close, Maya Hawke says she was flat-out “scared” about the future of her career. But it’s already clear that she couldn’t have had less to worry about. Her fantastic fourth album, Maitreya Corso, due on May 1, is a major step forward, a quirky, cozily organic, unceasingly melodic collection of Aimee Mann-worthy pop. She also stars alongside Lewis Pullman in the high-concept romantic comedy Wishful Thinking, which just premiered to critical praise at SXSW, and already moved into a new franchise, filming next year’s Hunger Games: Sunrise on the Reaping.

When Hawke sat down at the Rolling Stone Studio, live at SXSW, she went deep on all of it, plus ambition, creative anxiety, Taylor Swift’s influence, and the voice in her head that’s never satisfied. Some highlights follow; to watch the whole interview, press play above, or go to Rolling Stone’s YouTube channel.

The album’s title comes from two very different sources — the Beat poet Gregory Corso and the Buddhist concept of Maitreya. “This is the first time I’ve ever spoken about this record to anyone, and I really probably should have made up my mind about what I was gonna say,” she says. “But I come from a lot of different worlds and philosophies. Corso is a reference to Gregory Corso, and Maitreya is a reference to the Bodhisattva — this idea of new beginnings, this combination of the divine spirit and the human spirit. I was looking for a name of a fantasy heroine to go on this journey that I felt like the record was, and that felt right.”

Hawke doesn’t hesitate to cite Taylor Swift as an influence. “I think she inspired a generation. She made a generation of young people listen to music and think, ‘Oh, wow, my life could matter. My feelings could matter. The details of it could matter.’ And of course it’s a Blakean thing, the minute particulars — the more specific you make something, the more relatable it actually is. But I was hugely influenced by her. I’ve been listening to her music my entire life. You could start any song from any word and I would be able to know where you were and finish it, probably.”

On the new song “Lioness,” Hawke sings about watching “Sadie talk to God through the lav mic,” and she confirms it’s about her costar Sadie Sink. “I was actually talking about working on Stranger Things,” she reveals. “There was a day where I was really grumpy and not feeling inspired. And I came into set as a background player in a scene she was in, and I remembered how magical acting is. I just watched her pick a spirit out of the universe and make the whole room quiet and speak truth and turn something from a game of playing pretend into something extremely authentic. It was a kick in my butt — bring it every time, every second. Don’t get lazy for one second. When I was at drama school, I used to complain — 80 percent of the day is magic, but 20 percent is total bull honky. And then I started working, and I was like, ‘Oh, whoa, 80-20 is a high percentage of magic.’ And that was a moment where I was like, ‘You are shrinking the ratio. You are losing touch with the magic. It’s not the art that’s depressed. You are.’ I think she’s the greatest actress of our generation.”

Hawke got permission from Sink before putting her name in the song — and says she sometimes asks permission even when she doesn’t name-drop. “It’s a weird feeling to be written about,” she says. “I’ve had it in my own life from people that I love, who didn’t name-drop me but wrote about me. It can feel exposing and vulnerable. And also, Miley Cyrus said this — feelings enter your body and that’s not who you are. To write a great song, sometimes you wanna zero in on a singular feeling. And really, that’s just a moment. If you write a really angry song about somebody you love, you wanna be like, ‘Hey, just so you know — I’m not angry at you. I was angry at you on a day that was really inspiring and created this thing. Do you feel OK about me sharing that with the world?'”

The first single, “The Devil You Know,” is about the “gremlin” of ambition, and a wake-up call Hawke got when someone asked when success would ever be “enough.” “The only time it would ever feel like enough is if it was too much,” she says. “If it started to impede my ability to be anonymous, to be free. And I don’t want that. The only thing that would satisfy the gremlin in me is the ruination of my freedom. So I’ve gotta go talk to the gremlin and figure out a way to make a deal. That’s the devil in the song. The gremlin who’s like, ‘More. You must do better. This person is more successful than you.’ You’ve gotta talk to that guy and be like, ‘OK, how can we work something out?’ This jealousy isn’t helping me. It’s not making me a better artist.”

Hawke started as a lyricist and was initially afraid to get into the music side of songwriting, in part because she was intimidated by the extraordinary musicians around her. “I just didn’t think I was any good,” she says. “And this is where great fortune meets its own complications. If I hadn’t met people like that, I probably would’ve made demos in my room and put them on YouTube. But that wasn’t the hand I was dealt. I was dealt a hand where it was like, ‘Hey, come over, I’ve got the greatest guitar player in the world here who wants to write a song with you.’ That’s a really intimidating environment to be like, ‘But maybe what about this?’ It took a while and a lot of encouragement to think my idea was worthwhile — not because it was better, but because it was mine”.

I am going to wrap up with an article from People. They got an exclusive, as Maya Hawke teased some plans for her summer. I do wonder if she will extend her tour run and visit the U.K. and Europe. No doubt there will be new acting projects. I am curious if we will get surprises relating to MAITREYA CORSO and any surprise appearances and collaborations:

“Speaking with PEOPLE in an exclusive interview at the premiere of her latest film project, the sci-fi rom-com Wishful Thinking, at SXSW on March 12, the 27-year-old Stranger Things actress teased her summer plans.

"I wish I could tell you, but I can't," Hawke explained. "But right now, I'm really looking forward to putting my record out and doing a little tour, but that's more spring. I'm really looking forward to this movie.”

“For the full summer, I wish I could tell you, but I can't," she reiterated.

Asked if she just didn't know what her plans were yet or if she had something top secret in store, Hawke said simply responded, “Secret.”

In Wishful Thinking, Hawke stars alongside Lewis Pullman as a couple who go to therapy together, only to find that their relationship is affecting the world around them.

The cast also includes Randall Park, Jake Shane and Amita Rao.

Before SXWS, Hawke tied the knot with Christian Lee Hutson on Feb. 14.

She has been with the musician since 2023, and a few of her Stranger Things costars attended the wedding, including Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Sadie Sink, Natalia Dyer, Charlie Heaton and Joe Keery.

Hawke's parents, Uma Thurman and Ethan Hawke, were also present at her surprise New York City nuptials. The Inside Out 2 voice actress and Hutson, 35, both wore Prada outfits for the ceremony.

"It's awesome. I cannot recommend highly enough dating your friends. It's the best. They know you, and as a human being who has dated other people," she said about her relationship during an appearance on the Zach Sang Show.

She also has some additional projects on the horizon, including playing Wiress in Hunger Games: Sunrise on the Reaping and a starring in a leading role in a psychological drama film called Lucia, but it's unclear if her summer secret ties into either of these”.

A hugely talented and wonderful artist whose voice I absolutely adore, her lyrics and what she puts into her songs is so powerful and potent. She is a wonderful songwriter and someone who I hope releases a lot more albums. Two years after I previously spotlighted Maya Hawake, I wanted to revisit ahead of the release of MAITREYA CORSO on 1st May. I feel that her fourth album will be one of 2026’s absolute best. This is an artist that I hope to…

SEE live one day soon.

______________

Follow Maya Hawke

PHOTO CREDIT: Greg Swales

Official:

https://www.mayahawkemusic.com/

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https://www.instagram.com/maya_hawke/

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https://mayahawke.bandcamp.com/music

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https://www.tiktok.com/@maya_hawke

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https://open.spotify.com/artist/4e9vQfyvvDlcQAkjSdFE4x?si=z5Vs8xPPRX-Ykpr-B5hLYQ

FEATURE: The Great American Songbook: Nina Simone

FEATURE:

 

 

The Great American Songbook

PHOTO CREDIT: Getty Images/David Redfern

Nina Simone

__________

ONE of the greatest voices…

IN THIS PHOTO: Nina Simone in 1968/PHOTO CREDIT: Getty Images

that we have heard in music history, I wanted to recognise Nina Simone for this The Great American Songbook. The Carolina=born artist released her debut album, Little Girl Blue: Jazz as Played in an Exclusive Side Street Club, in 1959. She died in 2003. In 1991, Simone published her autobiography, I Put a Spell on You, and she continued to perform and attract audiences until her death. I am going to end this feature with a twenty-song mixtape featuring some of Nina Simone’s greatest songs. So many to choose from, so it has been a hard choice! In 2022, Vanity Fair published a feature regarding Nina Simone’s “Tortured Talent”. As they write: “Together, Simone’s autobiography I Put a Spell on You and Alan Light’s biography What Happened, Miss Simone? elucidate an anguished genius”. It is fascinating learning about her beginnings and everything that she achieved. Her successes as well as failings and harder moments paint this compelling and complete portrait of one of the greatest artists who has ever lived:

“When I used to get blue years ago, James Baldwin would say the same thing to me each time: ‘This is the world you have made for yourself, Nina, now you have to live in it,’” the trailblazing musician and civil rights activist Nina Simone muses in the opening lines of her 1992 autobiography, I Put a Spell on You.

Throughout this slight, remarkably placid autobiography (co-written with Stephen Cleary), one sometimes wonders—almost with relief—whether these words are actually the voice of Nina Simone. Could this possibly be the same tortured musical prodigy whose mental illness and irrational actions are brutally and heartbreakingly documented in Alan Light’s 2016 biography What Happened, Miss Simone?—a book inspired by the harrowing 2015 documentary of the same name?

But then, like flashes of lightning, Simone reveals her aching loneliness—her insecurities, her rage, her passion, and her inability to explain her oftentimes hurtful actions. A classically trained pianist who begrudgingly became “the high priestess of soul,” Simone knew people thought she was strange. Still, she found a way to connect and inspire through her extraordinary gifts, leaving behind a body of work which reveals unflinching, universal truths.

“When a person moves to their own kind of clock, spirit, flow, you’re always in congress with yourself. The challenge is, how does the congress around you accept you?” her friend Attallah Shabazz asked Light. “How does royalty stomp around in the mud and still walk with grace? Most people are afraid to be as honest as she lived.”

Carolina Girl

Nina Simone was born Eunice Kathleen Waymon in 1933, in the small resort town of Tryon, North Carolina. Her mother, Mary Kate, was a pious and renowned preacher, while her jaunty father, John Divine Waymon, was an entertainer turned entrepreneur who had fallen on hard times due to the Depression.

Simone recounts her family life and the relatively integrated, bucolic Tryon in the most sentimental, emotional, and clear-headed portion of I Put a Spell on You. As Simone recalls, her parents and siblings were considered “exceptional” in both the Black and white communities. Little Eunice became the Waymons’ brightest star at two and a half, when she taught herself to play the family organ. “Momma came into the living room and heard me playing one of her favorite hymns, ’God Be with You Till We Meet Again’ in the key of F. She was so surprised she almost died on the spot,” Simone writes.

Simone shared a special bond with John Divine.One gets the sense her entire life was spent trying to recapture the security she felt with her father, who made her laugh and loved to watch her perform. “Daddy’s favorite was ‘The Darktown Strutters’ Ball,’ and he’d sneak up in the day when Momma was out and get me to play it,” she writes. “He’d sit by the window or outside on the porch, and if he saw Momma coming down the road he’d whistle—the signal for me to switch to a more righteous tune.”

The Prodigy

Simone’s obvious gifts would soon become serious business. Her mother’s employer recognized Simone’s genius and paid for her to take piano lessons with Muriel Mazzanovich, an affectionate, tactile woman whom Simone came to see as her “white momma.” After hours spent practicing Bach in Mazzanovich’s airy, elegant studio, the two would play duets—“bright funny pieces that came as a welcome relief.”

Simone is at her most relatable describing the loneliness and isolation of a dutiful child prodigy: the punishing hours practicing, the lack of formative friendships, and the pressure of representing her race. To further her protégé’s education, “Miz Mazzy” started the Eunice Waymon Fund, and the entire community of Tryon—Black and white—chipped in. “The direction of my life was determined by their ambitions and their money, and I was promised a future I had no part in choosing,” Simone writes. This direction would include boarding school (where she was valedictorian), Julliard, and then, it was hoped, a spot at the renowned Curtis Institute of Music in Philadelphia.

But the sheltered Simone occasionally, spectacularly found her own voice. In I Put a Spell on You, she recounts a solo recital for her backers at the age of eleven. She was all set to play when she saw her parents being removed from their seats so a white family could take their place. “I …stood up in my starched dress and said if anyone expected to hear me play, they’d better make sure that my family was sitting right there in the front row where I could see them, and to hell with poise and elegance,” she writes. “The day after the recital I walked around feeling as if I had been flayed and every slight, real or imagined, cut me raw. But the skin grew back again a little tougher, a little less innocent, and a little more black.”

An Education

By 1950, Simone was studying at Julliard, and admittedly feeling awkward and out of tune with the glamorous and sophisticated women of Harlem and Brooklyn. She was further alienated when she was rejected by Curtis, which she believed was because of her race (though Light notes there are differing opinions on the reason).

While teaching piano in Philadelphia, Simone learned that her much less talented students were getting summer gigs in Atlantic City. To evade her religious mother’s wrath, the stage name “Nina Simone” was born. Her first residency was at an Atlantic City dive called Midtown Bar and Grill, where the innocent Simone ordered a glass of milk and only started singing when her employer insisted.

She quickly developed a following, with a group she refers to imperiously as “my students.” Painfully insecure offstage, she relished being in complete control over a ragtag audience far from her dreams of concert pianist stardom. “I would get through it by closing my eyes and pretending I was somewhere else, like Carnegie Hall or the Metropolitan Opera,” she writes.

Simone was soon a nightclub sensation, especially in vibrant, intellectually and musically stimulating Greenwich Village. She had a hit record with her 1957 version of “I Loves You, Porgy.” She was married to a beatnik named Don Ross, during which time her sister Francis recalled, per Light, she was drinking heavily and experimenting with drugs.

“Life blazed, and for a moment I thought I had everything I wanted,” Simone writes of these heady times. “After shows people would crowd my dressing room, leave flowers, kiss me and say they loved me. Men I had never met before, handsome men, said they loved me and I almost believed them—I wanted it to be true.”

Revolution

Simone’ s career would really take off after she married a tough, business-savvy, and abusive ex-policeman named Andy Stroud in 1961. “The way I looked at it, if I married Andy, he would be able to protect me from everything but himself,” she writes.

With Stroud managing her career, Simone became increasingly involved in the fight for civil rights, counting among her mentors James Baldwin, Odetta, Langston Hughes, and her dear friend Lorraine Hansberry, with whom “it was always Marx, Lenin and revolution—real girls talk.”

With songs like “Mississippi Goddam” and “Young, Gifted, and Black,” Simone earned the moniker bestowed on her by Stokely Carmichael: “the only singer of the civil rights movement.”

“People who lived through those times doing the same things I did, living and breathing the revolution, will tell you the same stories of how their private lives faded away for years at a time,” she writes. “The first thing I saw in the morning when I woke up was my black face in the bathroom mirror, and that fixed what I felt about myself for the rest of the day—that I was a black-skinned woman in a country where you could be killed because of that one fact.”

While recounting her involvement in the movement, one can feel Simone loosening up, relishing the human connections she made during the 1960s. With dark, twisted humor, she jokes about performing on a stage made of coffins in Alabama and attempting to seduce Louis Farrakhan after becoming obsessed with his tiny feet. She was especially amused when singer Johnny Mathis, who always bragged of having been a high school track star, sprinted off a stage when it collapsed, thinking (understandably) it had been bombed by racist agitators.

Yet Simone, whose vulnerability and fickle nature are evident in numerous contradictory passages throughout I Put a Spell on You, also admits to feeling like an outsider within a movement to which she gave so much. “I was lonely in the movement like I had been lonely everywhere else. Sometimes I think the whole of my life has been a search to find the one place I truly belong.”

The Betrayal

As Light notes, this alienation was undoubtedly not helped by Simone’s increasingly debilitating mental illness. She was later diagnosed as bipolar.

Though Simone is sparing when discussing her mental instability, she does describe her first real breakdown during a tour with Bill Cosby in 1967. “Andy walked into my dressing room and found me staring into the mirror putting make-up in my hair, brown make-up, because I wanted to be the same color all over,” she writes. ”He tried to get me to talk sense, but I said things like…I was Grandma Moses…I had visions of laser beams and heaven, with skin—always skin—involved in there somewhere.”

By the late 1960s, Simone was lashing out, heartbroken in part by the stagnant struggle for civil rights. “America betrayed me, betrayed my people and stamped on our hopes. Andy had betrayed me too,” she writes. “I felt like I was being attacked on all sides: the whole world was ganging up on Nina Simone.”

Simone retreated to Barbados in 1969, leaving behind Andy and their daughter, Lisa (who asserts she was physically abused by Simone). Even more inexplicably, she abandoned her beloved father after overhearing him brag that he had supported her family growing up, though it was her mother who had really kept them afloat. “I walked into the kitchen and told him he wasn’t my daddy anymore because I disowned him. From that moment I had no father,” she writes.

She held true to her vow. While her father was dying, Simone recalls staying in Tryon with Mazzanovich. Despite her family’s constant appeals, she refused to visit him on his deathbed. The day he was buried in North Carolina, Simone was performing in D.C., singing a song she just written about him which ended with these cryptic last lines: “When he passed away, I smoked and drank all day. Alone. Again. Naturally.”

Exile

“I had done things I could not explain to people I loved most…I couldn’t go home without explaining myself, and I didn’t know how,” Simone writes. “The truth was I had no home anymore.”

After recounting the death of her father, I Put a Spell on You becomes increasingly erratic and disjointed, mirroring the chaos of Simone’s life during the 1970s and 1980s. As Light notes, much of the book is dedicated to men Simone believes could have saved her, although she does not mention the many affairs with women her family and friends claim she enjoyed.

For a time, she was the mistress of Barbados Prime Minister Earl Barrow. “I was his courtesan and he was my pasha,” she recalls. She then moved with Lisa to Liberia, where she felt a wild sense of freedom and descended into hedonism and divadom At one party, which inspired her joyful song “African Calypso,” she stripped naked and danced for two hours, fueled by champagne.

But according to guitarist Al Shackman not everyone was thrilled to have Nina in Liberia. “They couldn’t stand her in Africa,” he told Light. “Her maids—oh, she was just awful. If she were a queen, the streets would rumble.”

During these tumultuous years, Simone became increasingly hostile towards her audiences, once chasing a fan in Casablanca out of a show with a knife. She found occasional solace and compassion with other bright lights—an understanding, reverential David Bowie and her old friend James Baldwin, who touchingly helped her during a show in New York.

“Song after song collapsed midway through, with Simone complaining about the microphones and the lights, until eventually Baldwin came out and sat with her onstage,” guitarist Al Schackman recalled, per Light. “He said, ‘Nina, I think you should sing,’ and she replied, ’James, yes, of course—I like you, I know you like me, so if you think I should sing, I will sing.’”

To The Bitter End

By the early 1980s, Simone was down and out in Paris. “Living in a tiny apartment, Simone would stand on the sidewalk in front of various Latin Quarter nightclubs and invite passersby to come in and see her perform,” Light writes.

Eventually Simone rebuilt her career and began taking medicine to treat her mental illness. But she remained volatile and reactive, aware that her emotions were often out of control.

Despite the turmoil, Simone claims in her autobiography to have had no regrets.

“I know she felt like she was alone, and she was still fighting while everybody else was happy that they had gotten their certificate,” Lisa told Light. “She never stopped speaking out against injustice. I think that Mom’s anger is what sustained her, really what kept her going. It just became who she was.”

Nina Simone died at her home in the French seaside town of Carry-le-Rouet on April 21, 2003. At last, she was at peace”.

With one of the absolute best songbooks in music history, artists influenced by Nina Simone include Jeff Buckley, Alicia Keys, Lauryn Hill, Erykah Badu, Tracy Chapman, and Meshell Ndegeocello. Zoe Saldaña was cast as Nina Simone in the 2016 biopic, Simone, but that drew criticism for the casting of a light-skinned Black woman. She had her skin darkened and a prophetic nose for the role. The actress did apologise and said she should never have stepped into Simone’s shoes (the film was widely panned). I do think Nina Simone deserves another biopic, but have a different actor – one endorsed by Simone’s estate – playing her. You feel Viola Davis would be a good choice. Maybe an artist playing Simone. Would casting Doechii be a good fit? Or casting an unknown actor or artist? In any case, this musical goddess warrants…

FAR better.

FEATURE: Cher at Eighty: Love and Understanding: Celebrating the Icon’s Career-Spanning L.G.B.T.Q.I.A.+ Advocacy

FEATURE:

 

 

Cher at Eighty

PHOTO CREDIT: Swan Gallet for WWD

Love and Understanding: Celebrating the Icon’s Career-Spanning L.G.B.T.Q.I.A.+ Advocacy

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I did recently…

feature Cher as part of my The Great American Songbook series, so I won’t repeat that and do another mixtape. However, I do have to write about her again, as she turns eighty on 23rd May. I was thinking about what defines Cher. It is her endurance and consistency. How she has helped shape music and changed it too. However, one of the most notable and best aspects of her as a human and artist is her advocacy for the L.G.B.T.Q.I.A.+ community. An icon and trailblazer, she is revered and seen as one of their most staunch and unwavering allies. That is needed in music now arguably as much as ever. I am going to drop in examples where Cher has either defended L.G.B.T.Q.I.A.+ people or shown her support. I am going to include some songs along the way, not necessarily gay anthems or those that are especially resonant to the L.G.B.T.Q.I.A.+ community. I will start out with an article from Advocate, which was published in 2024. Admitting that she had been obsessed with gay men since she was nine, Cher “reflected on her relationship with the LGBTQ+ community during a surprise appearance at the Abbey in West Hollywood”:

“Meeting gay men for the first time was “love at first sight” for Cher when she was only 9 years old, the iconic entertainer said during a surprise appearance Thursday at the Abbey, the famous LGBTQ+ bar in West Hollywood.

“The first gay guys I ever met, I was 9 years old,” she said at an event for the Abbey’s new owner, Tristan Schukraft, who bought the bar from David Cooley last year; video was posted online by Marc Malkin of Variety and others. “I walked into my house and there were these two guys there and they started talking to my mom and mom’s best friend. I was thinking, Where have they been hiding these guys? I’m 9, but I thought, Wait a minute … why aren’t the other guys as funny as these guys? It was really love at first sight.”

Cher also gave a shout-out to her LGBTQ+ fans. “One thing I have to say that is serious, that is from the heart, is that I’ve had really ups and downs in my career — I mean, really! — and you guys never left me,” she said. “So thank you.” She had entered the bar singing “Song for the Lonely.” She is a longtime ally to the community and mother of a transgender son, Chaz Bono”

There is a lot of articles and different pieces I could bring together, and the timeline is slightly all over the place here. However, as a performer, Cher is someone who will not perform in a nation who has is anti-gay/trans and does not support the L.G.B.T.Q.I.A.+ community. Unfortunately, that maybe includes America now under President Trump. In 2013, Cher refused to play in Russia for the Winter Olympics:

“Cher claims to have rejected an invitation to perform at the Sochi Winter Olympics. Although she was asked to participate in February's official opening ceremonies, the singer said she "immediately" refused out of solidarity with Russia's gay community.

Speaking with the Canadian magazine Maclean's, Cher recounted receiving a call from a friend "who is a big [Russian oligarch]". "[He] asked me if I'd like to be an ambassador for the Olympics and open the show," she said. "I immediately said no. I want to know why all of this gay hate just exploded over there. He said the Russian people don't feel the way the government does”.

Cher is no stranger to Russia: she has performed there twice in the past year. And while she said she "can't name names" when it comes to her friend the oligarch, both of her recent gigs were at the invitation of billionaire businessman/politician Suleyman Kerimov. Kerimov is the world's 162nd-richest man, according to Forbes; he is also a huge Cher fan. He brought the Believe singer to Moscow for a private party in December 2012, and then to his home province of Dagestan this July for the opening of a new football stadium. "Russia is Great … COLD BUT GREAT!" Cher tweeted at the time of the December show. "Here is pic of me wearing my friend's [giant, fur] hat!"

Cher is a longtime advocate of LGBT rights, spurred by events "in the early days" of Sonny and Cher, as well as her experiences as mother to a transgender child. "People hated Sonny and I ... because we looked and acted so different," she told Maclean's. "Sonny was always getting into fights – people would called him 'fag' and he'd get his nose broken – only because we were dressing different … You can't forget that”.

There are a couple of other articles I will get to before wrapping this up. Which artist would you say is the greatest and most prolific gay rights activist and ally ever? Many might jump to Madonna. That would be a good shout. Though think about Cher and all the times she has stood up for gay rights and supported the L.G.B .T.Q.I.A.+ community. This article from The Blunt Post argues Cher is the greatest gay icon of all time. This was published in 2018, so it might need updating:

“1983: She played a lesbian opposite Meryl Streep in the film, Silkwood, and was nominated for her first Academy Award.

1989: She released the smash hit If I could turn back time, with a groundbreaking video and reinvented herself once again. The video was filmed on The Queen Mary with hundreds of US Navy sailors. She wore a sexy see-through outfit that vowed the public and redefined what a woman in her forties can do.

1995: Cher’s then daughter, Chastity Bono, came out as a lesbian and went on to be the President of GLAAD (Gay and Lesbian Alliance against Defamation).

1997: Recognized as one of the LGBT community’s most vocals advocates, Cher was invited as the keynote speaker for the 1997 national Parents, Families, & Friends of Lesbians and Gays (PFLAG) convention.

1998: Cher reached a new commercial peak with the album Believe, whose title track became the biggest-selling single of all time by a female artist in the UK. It featured the pioneering use of Auto-Tune, also known as the “Cher effect”. It played at clubs across the globe and Cher reached a whole new generation of fans.

1998: Cher was honored with a GLAAD Media Award (Gay and Lesbian Alliance Against Defamation) Vanguard Award.  The honor is presented to a member of the entertainment or media community who has made a significant difference in promoting equal rights for the LGBT community.

2000 & 2002: The NBC sitcom Will & Grace acknowledged her status by making her the idol of gay character Jack McFarland. In 2000, Cher made a cameo on the show, in which Jack believed her to be a drag queen and said he could “do” a better Cher himself. In 2002, she portrayed God in Jack’s imagined version of Heaven.

008-2010: Chaz Bono underwent female-to-male gender transition. In May 2010, he legally changed his gender and name, a decision Cher supported wholeheartedly and publicly.

2012: Cher attended the GLAAD Media Awards and presented Chaz with GLAAD’s Stephen F. Kolzak Award, which is presented annually to an openly lesbian, gay, bisexual or transgender media professional who has made a significant difference in promoting equality. Cher was joined on stage by Rep. Mary Bono Mack (Sonny Bono’s second wife and widow).

2018: Cher starred in Mamma Mia! Here We Go Again, arguably one of the gayest films in recent years and reunites her with her good friend, Meryl Streep”.

There is a remarkable article from Pride Source that is also from 2018. It was timely, as Cher, in their words, “did her gay-icon due diligence by helicoptering onto the set of "Mamma Mia 2! Here We Go Again". I hope that, as she turns eighty soon, there are new interviews where we get to see how she continues to champion, defend and speak for the L.G.B.T.Q.I.A.+ community:

“In July, she did her gay-icon due diligence by helicoptering onto the set of "Mamma Mia 2! Here We Go Again" to play the role she'd been playing in front of the world, most discernibly to generations of baby-gays and grown-up gays: maternal pillar. When I met Cher in 2016 on Halloween at a fundraiser stop for Hillary Clinton in the suburbs of Michigan, I was struck by her Cher-ness, the glitzy legend momentarily eclipsed by her warm, inviting humanness.

Armed with a cannon of glittery ABBA bops, Cher has come to our rescue once again with an ode to the Swedish disco-pop supergroup titled – what else? – "Dancing Queen," her 26th album and first since 2013's "Closer to the Truth." In December, "The Cher Show," the musical about her life, which she is co-producing, officially opens on Broadway. And next year, because she just can't help herself, she will embark on a tour appropriately titled "Here We Go Again."

The night we spoke, Cher was laid-back, reflective and full of hearty chuckles as she talked about that Walgreens detour, kissing "Silkwood" co-star Meryl Streep, the wedding dress she'd wear to Trump's impeachment party, the "breadcrumbs" of her legacy, Twitter, the devil, jumping out of a window – and not only her long-standing influence on the LGBTQ community, but our influence on her.

You could've easily found enough inspiration in the world's current plight for another album like your 2000 indie album "Not Commercial," which was dark.

But we don't need that right now! We need ABBA right now! If anything, we need to not be brought down because everything is so terrible. I was just talking to this one boy who came in and he was asking me what did I really think and I said, "Babe, I think the picture's bleak. I think everyone's gotta vote."

Thankfully, "Dancing Queen" is a slice of gay heaven in hell.

Well, look, I wasn't doing it for that, but I'm happy if it can make people happier than they were before they heard it.

When were you first aware that the LGBTQ community identified you as a gay icon?

I don't think I was when I was with Sonny. I think it happened on "The Sonny and Cher Show" (which ran from 1976-1977), somehow. I don't know – I don't know how that happens. I mean, how does it happen? I have no idea! It's just like, we made a pact and we're a group and that's it.

But you were seeing more of the LGBTQ community come out at some point? There was a switch?

Yeah, there was a change, there was definitely a change. And I think it was when I was not with Sonny anymore, and then somehow it all started to click. But I always had gay friends. I actually almost got arrested at a party with my best friend at school. He was gay but he couldn't let anybody know, and he wanted me to go with him to a party and the party got raided. And we jumped out the bathroom window! It was high. We had to go over the bathtub into the window and jump out.

Do you recall the moment that galvanized you to stand up as an ally for the LGBTQ community?

I really don't know if there was a moment. I'm not sure there was a moment; I'm not sure what it was. I just feel that, probably, there was a moment where guys thought I was just one of you. It's like, there's a moment where you're either part of the group and you're absorbed into the group and people love you as part of the group, or they don't even know you're alive, you know? Gay men are very loyal.

Look, I have a friend (makeup artist) Kevyn Aucoin – he's dead now – but he told me when he was young, he was growing up in some place in Louisiana and said how horrible it was to have to hide and be frightened, and he said he loved listening to Cher records. I think that's a dead giveaway! Haha! If you want to hide being gay, do not buy Cher records!

And I had another friend who had a Cher poster on his wall. I don't remember where he came from – some small town too – and his dad ripped it off the wall and he bought another one, put it inside his closet and said it was a way to really be who he was in spite of who his dad wanted him to be.

When in your life have you felt like the LGBTQ community was on your side when the rest of the world maybe was not?

Always. I remember when I was doing (the play) "Come Back to the Five and Dime" (in 1976) and we had standing room only before we got reviewed, and after we got reviewed nobody came except the community – the community, and little grey-haired old women who came to matinees. We managed to stay open until we could build back up the following. Also, the gay community, they just don't leave you, they stay with you; that's one thing that always keeps you going.

What does that loyalty mean to you?

There's been sometimes where I was just, you know, heartbroken about things, but it always gives you hope when there are people who think that you're cute and worthwhile and an artist. It's a great thing to have in your back pocket.

How do you hope your role as the mother of a trans son, Chaz Bono, has influenced other parents of LGBTQ kids?

This is what I think, and this is what I would hope: I would hope that, look, I didn't go through it that easily. Both times. When I found out Chaz was gay, I didn't go through it that easily; when I found out Chaz was (transitioning) … except we talked about it a lot, actually. But then Chaz didn't mention it anymore, so I kind of forgot. And what I think is, there's such a fear of losing the child you love, and what will replace that child.

I think it's about the fear, mostly. I felt, who will this new person be? Because I know who the person is now, but who will the new person be and how will it work and will I have lost somebody? And then I thought of something else: I thought, my god, if I woke up tomorrow and I was a man, I would be gouging my eyes out. And so I know that if that's what you feel then that must be so painful that it doesn't make any difference what anyone else feels or what anyone else thinks. Chaz is so happy now and we get along better than ever”.

It is a very bleak time in America. For so many reasons. When it comes to women’s rights and body autonomy. Abortion being criminalised and President Trump, a known abuser and misogynist, making sure women have fewer rights and less freedom than any time in recent history. In terms of rights of the trans community, they are more vulnerable and less heard than ever before. In 2023, Cher spoke out for trans rights. How we all need to stand together at a moment when trans people are being demonised and seen by some governments, including Trump’s, as almost sub-human. Their safety as in jeopardy as it has been ever arguably. A powerful and consistent ally such as Cher is definitely not wavering:

“Cher is sounding the alarm about the unprecedented number of anti-trans bills that have been introduced by Republicans in state houses across the U.S. this year.

While promoting her first-ever holiday album, Christmas, out this Friday, the “Believe” singer seemed aghast when asked about the GOP’s anti-trans crusade ahead of the 2024 election.

“It’s something like 500 bills they’re trying to pass,” she told The Guardian.Bottom of Form

In fact, the American Civil Liberties Union is currently tracking 501 anti-LGBTQ+ bills that have been introduced, and in some cases passed into law, across the country during the 2023 legislative session. Those include bans on gender-affirming care for trans young people and laws restricting which bathrooms trans people can use and the sports teams on which they can compete.

“I was with two trans girls the other night – and of course my own child,” Cher continued, referring to her son, Chaz Bono, who is trans. “I was saying, ‘We’ve got to stand together.’ I don’t know what their eventual plan is for trans people. I don’t put anything past them.”

A long-time LGBTQ+ ally—not to mention a gay icon—Cher has spoken candidly about her struggle to come to terms with Bono coming out as trans.

“I think it’s about the fear, mostly. I felt, who will this new person be? Because I know who the person is now, but who will the new person be and how will it work and will I have lost somebody?” she told PrideSource in 2018.

In the years since Bono began transitioning in 2008, however, Cher has been a tireless defender of her son, blasting transphobic critics on the Ellen DeGeneres Show in 2011. “If you got that excess time and that amount of hostility, I’m not so sure that I can say anything to you that would make you change your feelings,” she said. “Those are such feelings of hostility and fear, that I don’t know that I would have any magic words to make you feel more comfortable and to soothe you into not being terrified of my child dancing on ‘Dancing With the F–king Stars.’”

Following the 2016 election, she told LGBTQ Nation “I shudder to think” what Donald Trump’s presidency might mean for transgender Americans.

“I almost got an ulcer the last time,” Cher told The Guardian of a potential second Trump victory. “If he gets in, who knows? This time I will leave [the country]”.

You knew Cher has a nasty and cold feeling. That Trump would roll back trans rights and block any pro-trans bills and orders within hours of coming back into The White House. This 2025 article provided some sobering and awful truths about Trump and his attitudes towards the trans community:

“Within hours of returning to power Monday, United States President Donald Trump issued a stunningly broad executive order that seeks to dismantle crucial protections for transgender people and denies the validity of gender identity itself.

The new order withdraws a range of executive orders issued by former President Joe Biden, including those allowing transgender people to serve in the military, advancing the health and well-being of lesbian, gay, bisexual, and transgender (LGBT) youth, and interpreting federal sex discrimination protections in domains like education, housing, and immigration to prohibit discrimination based on sexual orientation or gender identity.

The order states that the US government will recognize only two sexes, male and female, that are fixed at birth, and orders government agencies to end all reference to and consideration of a person’s gender identity. This sweeping redefinition threatens federal programs used by transgender people and impacts federal documentation such as passports, which can currently reflect the gender identity of transgender and nonbinary people.

The order also pledges to withhold federal funding from any programs that promote “gender ideology,” echoing language used by right-wing movements across Europe and Latin America to oppose not only recognition of transgender people but broader sexual and reproductive rights.

Worryingly, it instructs agencies to house transgender people in detention according to their sex assigned at birth, putting them at extreme risk of physical and sexual violence, and to withhold gender-affirming care in prisons, which can amount to cruel, inhuman, and degrading treatment or punishment under international law. The order further instructs the Department of Justice to help agencies reinforce sex-segregated spaces that exclude transgender people, potentially excluding transgender individuals from everyday facilities like bathrooms but also from crucial services like shelters for those facing homelessness and intimate partner violence”.

Transgender rights in the US are currently heavily contested, with a stark divide between states passing restrictive legislation and others expanding protections. As of 2025–2026, over twenty-five states have restricted gender-affirming care for minors, while federal protections are fluctuating. Major debates centre on healthcare access, bathroom usage, and sports participation. This anti-trans bill tracker gives us real-time information about the bills passed and where in the U.S. At the time of writing this (5th April), there have been 755 bills across forty-two states. Twenty-six passed, 666 active and sixty-three have failed. Texas has passed the most anti-trans bills. Missouri, Oklahoma, and West Virginia are not far behind. Other high-impact states for passing restrictive laws include Idaho, Arkansas, and Wyoming. Cher was born in California. California has passed zero anti-transgender bills in recent years, as the state actively pursues pro-equality legislation and serves as a ‘shield’ state for gender-affirming care. Conversely, California is a leader in passing pro-transgender legislation, with over 200 LGBTQ+ bills enacted as of September 2025. Governor Gavin Newsom has signed numerous bills strengthening protections for transgender and nonbinary people regarding privacy, healthcare, and identification. This is heartening to see. Civility and humanity in one of the biggest and most important states in the U.S. As this revered icon and fearless, consistent and committed champion for the L.G.B.T.Q.I.A.+ community enters her ninth decade on 23rd May, I wanted to highlight some of her important words, advocacy and great work here – whilst peppering in some Cher classics! I am not sure what her position is about remain in the U.S. Cher still live in the U.S. but I feel that she might relocate if President Trump doubles-down his anti-trans hatred. Trying to almost eradicate or neutralise the community. This incredible advocate for communities still attacked, vilified and seen as immoral by so many nations and states of the U.S. has Cher in their corner. It might be a long road (especially in the UJ.S.) before there is equity, freedom and acceptance but, with women like Cher standing firm and not budging, this is a huge reason…

TO believe.

FEATURE: The Great American Songbook: Miles Davis

FEATURE:

 

 

The Great American Songbook

IN THIS PHOTO: Miles Davis in New York, March/April, 1959/PHOTO CREDIT: Don Hunstein

Miles Davis

__________

THERE is no denying how Miles Davis…

PHOTO CREDIT: Horace/ZumaPress

is one of the greatest and most influential Jazz musicians ever. In terms of his style and his legacy, there are few that match his heights. He would have turned one-hundred on 26th May. He died in 1991 aged only sixty-five. However, in his lifetime, he released scores of albums and claimed so many honours. He lived this incredible life. I am going to end this feature with a twenty-song mixtape featuring some of his finest work. That is a hard job considering his phenomenal and epic catalogue! Before getting there, below is some biography about the master:

“A monumental innovator, icon, and maverick, trumpeter Miles Davis helped define the course of jazz as well as popular culture in the 20th century, bridging the gap between bebop, modal music, funk, and fusion. Throughout most of his 50-year career, Davis played the trumpet in a lyrical, introspective style, often employing a stemless Harmon mute to make his sound more personal and intimate. It was a style that, along with his brooding stage persona, earned him the nickname "Prince of Darkness." However, Davis proved to be a dazzlingly protean artist, moving into fiery modal jazz in the '60s and electrified funk and fusion in the '70s, drenching his trumpet in wah-wah pedal effects along the way. More than any other figure in jazz, Davis helped establish the direction of the genre with a steady stream of boundary-pushing recordings, among them 1957's chamber jazz album Birth of the Cool (which collected recordings from 1949-1950), 1959's modal masterpiece Kind of Blue, 1960's orchestral album Sketches of Spain, and 1970's landmark fusion recording Bitches Brew. Davis' own playing was obviously at the forefront of those changes, but he also distinguished himself as a bandleader, regularly surrounding himself with sidemen and collaborators who likewise moved in new directions, including the luminaries John Coltrane, Herbie Hancock, Bill Evans, Wayne Shorter, Chick Corea, and many more. While he remains one of the most referenced figures in jazz, a major touchstone for generations of trumpeters (including Wynton Marsalis, Chris Botti, and Nicholas Payton), his music reaches far beyond the jazz tradition, and can be heard in the genre-bending approach of performers across the musical spectrum, ranging from funk and pop to rock, electronica, hip-hop, and more.

Born in 1926, Davis was the son of dental surgeon, Dr. Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis, and grew up in the Black middle class of East St. Louis after the family moved there shortly after his birth. He became interested in music during his childhood and by the age of 12 began taking trumpet lessons. While still in high school, he got jobs playing in local bars and at 16 was playing gigs out of town on weekends. At 17, he joined Eddie Randle's Blue Devils, a territory band based in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine's big band, which was playing in St. Louis. The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterized by fast, inventive soloing and dynamic rhythm variations.

It is striking that Davis fell so completely under Gillespie and Parker's spell, since his own slower and less flashy style never really compared to theirs. But bebop was the new sound of the day, and the young trumpeter was bound to follow it. He did so by leaving the Midwest to attend the Institute of Musical Art in New York City (renamed Juilliard) in September 1944. Shortly after his arrival in Manhattan, he was playing in clubs with Parker, and by 1945 he had abandoned his academic studies for a full-time career as a jazz musician, initially joining Benny Carter's band and making his first recordings as a sideman. He played with Eckstine in 1946-1947 and was a member of Parker's group in 1947-1948, making his recording debut as a leader on a 1947 session that featured Parker, pianist John Lewis, bassist Nelson Boyd, and drummer Max Roach. This was an isolated date, however, and Davis spent most of his time playing and recording behind Parker. But in the summer of 1948, he organized a nine-piece band with an unusual horn section. In addition to himself, it featured an alto saxophone, a baritone saxophone, a trombone, a French horn, and a tuba. This nonet, employing arrangements by Gil Evans and others, played for two weeks at the Royal Roost in New York in September. Earning a contract with Capitol Records, the band went into the studio in January 1949 for the first of three sessions and produced 12 tracks that attracted little attention at first. The band's relaxed sound, however, affected the musicians who played it, among them Kai Winding, Lee Konitz, Gerry Mulligan, John Lewis, J.J. Johnson, and Kenny Clarke, and it had a profound influence on the development of the cool jazz style on the West Coast. (In February 1957, Capitol finally issued the tracks together on an LP called Birth of the Cool.)

Davis, meanwhile, had moved on to co-leading a band with pianist Tadd Dameron in 1949, and the group took him out of the country for an appearance at the Paris Jazz Festival in May. But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s. His performances and recordings became more haphazard, but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years. He managed to kick his habit by the middle of the decade, and he made a strong impression playing "'Round Midnight" at the Newport Jazz Festival in July 1955, a performance that led major-label Columbia to sign him. The prestigious contract allowed him to put together a permanent band, and he organized a quintet featuring saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, who began recording his Columbia debut, 'Round About Midnight, in October.

As it happened, however, he had a remaining five albums on his Prestige contract, and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment. The latter resulted in the Prestige albums The New Miles Davis Quintet, Cookin', Workin', Relaxin', and Steamin', making Davis' first quintet one of his better-documented outfits. In May 1957, just three months after Capitol released the Birth of the Cool LP, Davis again teamed with arranger Gil Evans for his second Columbia LP, Miles Ahead. Playing flügelhorn, Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones. Released in 1958, the album was later inducted into the Grammy Hall of Fame, intended to honor recordings made before the Grammy Awards were instituted in 1959.

In December 1957, Davis returned to Paris, where he improvised the background music for the film L'Ascenseur pour l'Echafaud. Jazz Track, an album containing this music, earned him a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group. He added saxophonist Cannonball Adderley to his group, creating the Miles Davis Sextet, which recorded Milestones in April 1958. Shortly after this recording, Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums. In July, Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess. Back in the sextet, Davis began to experiment with modal playing, basing his improvisations on scales rather than chord changes.

This led to his next band recording, Kind of Blue, in March and April 1959, an album that became a landmark in modern jazz and the most popular album of Davis' career, eventually selling over two million copies, a phenomenal success for a jazz record. In sessions held in November 1959 and March 1960, Davis again followed his pattern of alternating band releases and collaborations with Gil Evans, recording Sketches of Spain, containing traditional Spanish music and original compositions in that style. The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance, Large Group, and Best Jazz Composition, More Than 5 Minutes; they won in the latter category.

By the time Davis returned to the studio to make his next band album in March 1961, Adderley had departed, Wynton Kelly had replaced Bill Evans at the piano, and John Coltrane had left to begin his successful solo career, being replaced by saxophonist Hank Mobley (following the brief tenure of Sonny Stitt). Nevertheless, Coltrane guested on a couple of tracks of the album, called Someday My Prince Will Come. The record made the pop charts in March 1962, but it was preceded into the best-seller lists by the Davis quintet's next recording, the two-LP set Miles Davis in Person (Friday & Saturday Nights at the Blackhawk, San Fr…, recorded in April. The following month, Davis recorded another live show, as he and his band were joined by an orchestra led by Gil Evans at Carnegie Hall in May. The resulting Miles Davis at Carnegie Hall was his third LP to reach the pop charts, and it earned Davis and Evans a 1962 Grammy nomination for Best Jazz Performance by a Large Group, Instrumental. Davis and Evans teamed up again in 1962 for what became their final collaboration, Quiet Nights. The album was not issued until 1964, when it reached the charts and earned a Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group.

In 1996, Columbia Records released a six-CD box set, Miles Davis & Gil Evans: The Complete Columbia Studio Recordings, that won the Grammy for Best Historical Album. Quiet Nights was preceded into the marketplace by Davis' next band effort, Seven Steps to Heaven, recorded in the spring of 1963 with an entirely new lineup consisting of saxophonist George Coleman, pianist Victor Feldman, bassist Ron Carter, and drummer Frank Butler. During the sessions, Feldman was replaced by Herbie Hancock and Butler by Tony Williams. The album found Davis making a transition to his next great group, of which Carter, Hancock, and Williams would be members. It was another pop chart entry that earned 1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist or Small Group and Best Instrumental Jazz Performance by a Large Group. The quintet followed with two live albums, Miles Davis in Europe, recorded in July 1963, which made the pop charts and earned a 1964 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group, and My Funny Valentine, recorded in February 1964 and released in 1965, when it reached the pop charts.

By September 1964, the final member of the classic Miles Davis Quintet of the '60s was in place with the addition of saxophonist Wayne Shorter to the team of Davis, Carter, Hancock, and Williams. While continuing to play standards in concert, this unit embarked on a series of albums of original compositions contributed by the bandmembers themselves, starting in January 1965 with E.S.P., followed by Miles Smiles (1967 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group [7 or Fewer]), Sorcerer, Nefertiti, Miles in the Sky (1968 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group), and Filles de Kilimanjaro. By the time of Miles in the Sky, the group had begun to turn to electric instruments, presaging Davis' next stylistic turn. By the final sessions for Filles de Kilimanjaro in September 1968, Hancock had been replaced by Chick Corea and Carter by Dave Holland. But Hancock, along with pianist Joe Zawinul and guitarist John McLaughlin, participated on Davis' next album, In a Silent Way (1969), which returned the trumpeter to the pop charts for the first time in four years and earned him another small-group jazz performance Grammy nomination. With his next album, Bitches Brew, Davis turned more overtly to a jazz-rock style. Though certainly not conventional rock music, Davis' electrified sound attracted a young, non-jazz audience while putting off traditional jazz fans.

Bitches Brew, released in March 1970, reached the pop Top 40 and became Davis' first album to be certified gold. It also earned a Grammy nomination for Best Instrumental Arrangement and won the Grammy for large-group jazz performance. He followed it with such similar efforts as Miles Davis at Fillmore East (1971 Grammy nomination for Best Jazz Performance by a Group), A Tribute to Jack Johnson, Live-Evil, On the Corner, and In Concert, all of which reached the pop charts. Meanwhile, Davis' former sidemen became his disciples in a series of fusion groups: Corea formed Return to Forever, Shorter and Zawinul led Weather Report, and McLaughlin and former Davis drummer Billy Cobham organized the Mahavishnu Orchestra. Starting in October 1972, when he broke his ankles in a car accident, Davis became less active in the early '70s, and in 1975 he gave up recording entirely due to illness, undergoing surgery for hip replacement later in the year. Five years passed before he returned to action by recording The Man with the Horn in 1980 and going back to touring in 1981.

By now, he was an elder statesman of jazz, and his innovations had been incorporated into the music, at least by those who supported his eclectic approach. He was also a celebrity whose appeal extended far beyond the basic jazz audience. He performed on the worldwide jazz festival circuit and recorded a series of albums that made the pop charts, including We Want Miles (1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist), Star People, Decoy, and You're Under Arrest. In 1986, after 30 years with Columbia, he switched to Warner Bros. and released Tutu, which won him his fourth Grammy for Best Jazz Instrumental Performance.

Aura, an album he had recorded in 1984, was released by Columbia in 1989 and brought him his fifth Grammy for Best Jazz Instrumental Performance by a Soloist (on a Jazz Recording). Davis surprised jazz fans when, on July 8, 1991, he joined an orchestra led by Quincy Jones at the Montreux Jazz Festival to perform some of the arrangements written for him in the late '50s by Gil Evans; he had never previously looked back at an aspect of his career. He died of pneumonia, respiratory failure, and a stroke within months. Doo-Bop, his last studio album, appeared in 1992. It was a collaboration with rapper Easy Mo Bee, and it won a Grammy for Best Rhythm & Blues Instrumental Performance, with the track "Fantasy" nominated for Best Jazz Instrumental Solo. Released in 1993, Miles & Quincy Live at Montreux won Davis his seventh Grammy for Best Large Jazz Ensemble Performance.Miles Davis took an all-inclusive, constantly restless approach to jazz that won him accolades and earned him controversy during his lifetime. It was hard to recognize the bebop acolyte of Charlie Parker in the flamboyantly dressed leader who seemed to keep one foot on a wah-wah pedal and one hand on an electric keyboard in his later years. But he did much to popularize jazz, reversing the trend away from commercial appeal that bebop started. And whatever the fripperies and explorations, he retained an ability to play moving solos that endeared him to audiences and demonstrated his affinity with tradition. He is a reminder of the music's essential quality of boundless invention, using all available means. Twenty-four years after Davis' death, he was the subject of Miles Ahead, a biopic co-written and directed by Don Cheadle, who also portrayed him. Its soundtrack functioned as a career overview with additional music provided by pianist Robert Glasper and associates. Additionally, Glasper enlisted many of his collaborators to help record Everything's Beautiful, a separate release that incorporated Davis' master recordings and outtakes into new compositions. In 2020, the trumpeter was also the focus of director Stanley Nelson's documentary Miles Davis: Birth of the Cool, which showcased music from throughout Davis' career. Also included on the documentary's soundtrack was a newly produced track, "Hail to the Real Chief," constructed out of previously unreleased Davis recordings by the trumpeter's fusion-era bandmates drummer Lenny White and drummer (and nephew) Vince Wilburn, Jr”.

There are so many books and articles about Miles Davis you should investigate. Such a genius musician whose innovation and originality is among the most notable in all of music history. You can learn more of his legacy here, but his impact has spread far beyond the realm of Jazz. There will be celebrations and a lot written around the one-hundredth birthday of Miles Davis on 26th May. This is my salute in The Great American Songbook. Twenty amazing cuts from…

THE peerless Miles Davis.

FEATURE: Oh Yeah: Ash’s 1977 at Thirty

FEATURE:

 

 

Oh Yeah

Ash’s 1977 at Thirty

__________

ONE of the biggest albums…

IN THIS PHOTO: Ash circa 1996

of the mid-1990s turns thirty on 6th May. Ash’s debut album, 1977, contains huge songs like Girl from Mars and Oh Yeah. I remember it coming out and the buzz around this terrific new band. Led by Tim Wheeler, the Northern Ireland trio put out one of the best debuts of the ‘90s. With critics comparting 1977 to the best work from bands like Sonic Youth and Buzzcocks, I want to shine a light on the album ahead of its anniversary. I am going to lead in with a feature from Guitar.com that was published around the thirty-fifth anniversary of 1977 in 2021. Mere months after leaving school, “Ash released a classic power-pop debut teeming with naive teenage romanticism and soaring guitar moments”:

“There were better, more complete and certainly more sophisticated records made in the mid-90s, but few if any of the albums that arose from the height of the frequently daft Britpop boom evoke a more complete sense of misty-eyed nostalgia for the era than 1977. It feels scarcely believable that it’s already a quarter of a century old.

Ash formed in 1989 at school in Downpatrick, Northern Ireland, initially as Iron Maiden covers band Vietnam. Singer and guitarist Tim Wheeler, drummer Rick McMurray and Hamilton followed the breathless grunge-pop promise of 1994 mini-album Trailer by heading into the studio with Oasis producer Owen Morris early in 1995. They emerged with Kung Fu, written in five minutes at Belfast Airport on the way to the sessions, Girl From Mars, penned by Wheeler at the age of 16, and Angel Interceptor. The latter was recorded using The Verve’s equipment, including a drumkit once belonging to John Bonham, with Morris still in the middle of producing A Northern Soul.

A gradual introduction

Suitably impressed by three storming singles lit up by Wheeler’s swashbuckling lead playing, the band’s label, Infectious Records, packed Ash off to Rockfield Studios in South Wales to record the rest of what would become 1977. Kicking off on New Year’s Day 1996, there was one slight problem. The band arrived without nearly enough material and were forced to write the remaining songs in the studio, where Morris was “gradually introducing us to drugs,” recalls Wheeler.

“I wasn’t really ready for it, although it was all I’d ever wanted,” the singer and guitarist told this writer years later. “It was a mad time, those whole couple of years. We meant to finish it in six weeks, but it ended up taking us about two and a half months.”

With the clock ticking and pressure from the label building, work continued as the band enjoyed snowball fights with the Boo Radleys, who were recording C’Mon Kids next door. Morris, meanwhile, was becoming increasingly hedonistic, taking acid, “throwing fire extinguishers through the studio glass and dancing on top of this £500,000 console,” according to Wheeler. On one particularly extra-curricular day, the producer sent the easily-led teenagers to a provincial village charity shop to buy women’s dresses to record in.

“Technically it was our first job out of school, but it didn’t feel like a job at all,” Wheeler told Vice. “It felt more like all of our dreams coming true at once.”

A punch in the face

While the three slightly gawky looking teenagers were becoming unlikely Britpop poster boys, they didn’t subscribe to the prevailing atmosphere of Beatles, Stones and Kinks reverence. Named partly in reference to punk’s landmark year (thankfully drunken working titles Look Girls, Cut The Shit And Suck My Dick and Women & Tits were quickly rejected), 1977 betrays Ash’s love of bands such as Buzzcocks, Ramones and The Undertones. It’s hard, too, to listen to the album without hearing the influence of Dinosaur Jr’s 1988 cult classic Bug and the romantic melodicism of Teenage Fanclub’s Bandwagonesque.

While he would go on to indulge his dual-guitar Thin Lizzy fantasies when Charlotte Hatherley joined the band in 1997 (check out their cover of Weezer’s Only In Dreams for the high point of that partnership), the playing on 1977 is all Wheeler’s. First picking up the instrument at 12, he left behind initial metal tendencies when he was seduced by the quiet-loud dynamics of Nirvana, Pixies and Sonic Youth. Ash’s frontman is a self-confessed Les Paul addict, with a 1960s Les Paul Custom Black Beauty his main studio guitar these days, and his favourite live instrument an early-80s Korina Flying V, but 1977 was surprisingly recorded using a 1995 Grestch Silver Jet bought on the band’s first US tour.

Wheeler doesn’t waste a second once the TIE has disappeared into the distance on opening “punch in the face” Lose Control before unleashing the Jet. He launches into a breakneck tremolo-picked ascending octave riff and returns for a frantic solo soaked in wah and dominated by huge string bends. There’s barely a pause for breath before arguably the best song the band have written – Goldfinger. It’s a universal story of teenage romance, the bittersweet grungey chorus built around the simplest of chord structures (B♭/G♯/B/F♯/B). Wheeler delivers another corking solo, overtaken by the soaring jet engine sound of a dimed phaser, as the rain lashes down outside and he waits for his love to arrive. We never find out whether she does”.

Before moving to some reviews of the magnificent 1977, I am highlighting an interview from 1996. Tim Wheeler in Chicago speaking with Olaf Tyaransen. It must have been an exciting time for Ash, but also one that was quite scary. Going to America and promoting their music must have been quite intense for such a young band:

“Tim's here to discuss the band's current American jaunt. This is their third time touring in rock & roll's spiritual home and although their debut album 1977 (the year of Tim's birth) has now shifted nearly three quarters of a million copies worldwide, they're still far from being household names over here at the moment. If their fame could be graded like their O-Levels then they'd probably get a D. Constant touring is the key to cracking the mainstream and Ash have been doing quite a lot of it in recent months. In fact, they've only managed to spend four days at home in Northern Ireland so far this year, having spent most of '96 living on a tourbus.

"We started touring last spring with a tour of the UK," he recounts wearily, "then we did Europe and then a few Irish dates. After that we spent almost all the summer in America. Then we came back and did a few European festivals like Reading and stuff. We got a few weeks off and then we started this big tour where we did Thailand, Japan, Australia and New Zealand. Then we came straight out here again."

Ash are now five weeks into an exhaustive two-and-a-half month tour of the States. They're not actually playing many headline gigs themselves, sensibly choosing to ride the slipstream of more established bands instead. Next month they're playing a few dates with Weezer and a support slot with Bush is also on the cards for next year. At the moment, however, they're playing with Chicago techno-punksters Stabbing Westward, whose homecoming gig it is tomorrow night.

"They're really cool," says Tim. "They're a band that's really on the up over here. They're pretty big on MTV and stuff so it makes a big difference touring with someone who's really drawing in big crowds and stuff. Like, it's much better than playing our own little club shows.

"The last time we were here was good as well, but we were playing to much smaller audiences. We were sorta selling out really small clubs and getting a really good reaction from everybody who saw us but still it wasn't an awful lot of people, so I think it just takes a lot of time here, touring and building up a fanbase. Once this tour is over we probably won't come back until after the next album's released. And then we'll probably spend a lot of time here."

Have you begun working on the next album yet?

"No, I haven't done anything," he says, shaking his head ruefully. "I haven't written any new stuff because it's just been so hectic with all the touring we've done so far this year. I don't really wanna rush the next record because it's really important. So we'll just take it easy and wait till we've some time off before we start getting into it."

Any ideas about how it'll sound?

"I'd say the music will be pretty different," he avers. "It'll be better, stronger. I think the best thing we've ever done was the 'Goldfinger' song. It's quite different from all our other stuff and I think we'd like to go more in that direction. More dark and mysterious. Not so poppy but still very melodic. I've actually just been asked to write a song for the new film by the guys who made Trainspotting. It's gonna star Ewan McGregor and Cameron Diaz and I'd say it's gonna be huge in America. It's actually set here - it's a gangster movie, a kind of romantic comedy. But it's being made by British people so it'll probably take the piss a bit. It should be pretty cool. So we're gonna write a new song in January for it. We're gonna do a brilliant job on it as well."

Although Ash are a three-piece, Wheeler is still very much the band-leader and driving creative force behind them. "I wrote most of the last album myself but Mark sometimes writes new tunes as well. He's not as into it as me but he's got some good ideas. Rick doesn't bother too much really."

Despite the fact that he hasn't actually written any new material yet, Tim's already moved on from his earlier lyrical concerns. In theory at least.

"I look back on some of the lyrics from the album and they now just seem a little too sickly sweet for me," he admits. "You know, I won't do them like that again. But that was what I was into at the time, I was really into Phil Spector pop songs and Beach Boys kinda stuff. So yeah, it's very important to me that we move on and just get better. But I think that will come naturally anyway. My understanding of music has increased more. I should have kept writing though. I think I was getting really efficient at it by the time we finished the album. But I had to take a break. It was all getting too heavy.

"Songwriting is one thing that I know I can do a lot better than a lot of people. It is my skill really. I don't find anything more rewarding than just finishing a song. I'm so proud of 'Goldfinger', I think it's really good."

Seeing as you're from the North, would you ever think of writing a song about the political situation there?

"No, not really," he says. "None of us ever gave a shit about it while we were there. I mean, we were aware of it but we didn't really care about all of that shit. Really it's such a shame what's going on there because when you get out and see a bit of the world, you realise just how irrelevant it all is. And we've seen some really scummy places while we've been out on tour that just make you realise how much Northern Ireland has got going for it. It just needs people to wise up.

"Some of the things we've done have been pretty cool though. That show we did in Belfast - 2,500 people, kids of both religions and sides just out enjoying themselves together. I know I've said this before but that's more than a lot of politicians have done. At least we're bringing people together. And look at our road crew. We're a Proddy band and all of our crew are Fenians! So I reckon we do enough already without writing a song about the whole thing"

The songwriters Wheeler admires include Van Morrisson, Lennon, McCartney, Bowie and, of course, the late Kurt Cobain. In fact, he reckons that things just haven't been the same Stateside since Kurt killed himself.

"I think most American music these days is just really bland," he opines. "It's all very commercial. There hasn't really been anyone much good since Nirvana."

How about British bands? What do you think of Oasis?

"I think Oasis are amazing," he grins. "They're really entertaining. You know, they're proper rock stars - they get busted for drugs and stuff like that."

Speaking of proper rock stars and their lovable antics, over the last two years Ash have garnered a bit of a reputation for themselves as decadent, hotel trashing, full on rock & roll hooligans. It's not something that Wheeler denies (though I've yet to see any evidence of it with my own eyes).

"Well I suppose we are still quite reckless sometimes," he grins, "but really a lot of that stems from the excitement of being in all of these new places for the first time. Sometimes the urge just takes us."

And when was the last time you gave into these, em, urges?

"Nothing too serious has happened since Australia," he admits. "You know, the odd champagne bottle has been thrown across a hotel lobby and some furniture has gone out of hotel windows into swimming pools and that kind of thing."

Do you get billed for those kind of shenanigans?

"Yeah," he laughs. "The first time we were in Japan it cost a fortune. Whatever anything cost the hotel management multiplied it by 4 or 5 times when they were getting us to pay for it. One paper lampshade that we trashed cost about #200! At least that's what they charged us - it probably only actually cost about #40. They just rip you off all the time. So we don't trash things in Japan anymore."

Although Ash have a reputation for wanton destruction and excess, Tim insists that they're not really into drugs in a big way. They might smoke a bit of dope and Mark Hamilton's past problems with acid have been widely reported (he was hospitalised for a short period last year when he failed to come down from a particularly nasty trip), but at the end of the day, alcohol is what floats their collective boats.

Is honesty important to the band?

"Yeah," he nods. "We're real about everything."

A rare breeze of cold sobriety passes through the room and the three old schoolmates look at each other seriously for a moment. "Christ, we've really been through a lot in the last two years," mutters Tim and the other two nod their heads smiling. They appreciate how lucky they've been. And still are. Flying nonstop around the world playing music. And getting very well paid for it as well.

Back when you were just a Downpatrick schoolkid, did you ever think you'd be sitting in an American hotel room midway through an extensive tour discussing your band and their antics with a music magazine?

"Yeah, I did," he affirms. "We kinda had this vision which we followed blindly for some reason and it has all gone pretty much according to plan. It feels like fate or something. We didn't know how to get a record deal, we didn't even know how we were ever gonna get out of Downpatrick. But somehow everything just fell into place."

"I think we're pretty realistic about what we have to do now anyway," adds Mark. "Particularly over here. We're starting to understand America a bit more now. Like, everybody's saying that Oasis are huge in America but they're not. They're pretty big but they're not gigantic. Bands like Bush are much bigger.

"So we're aware that we're probably gonna have to tour our asses off over here. If you look at the English bands that come over here, most of them play a couple of short tours and then realise how much hard work it's gonna take so they give up and come home. Suede, Blur, Manic Street Preachers, Pulp - none of them have really tried hard to establish themselves. The only British band really pushing themselves are Radiohead. They're getting pretty big over here as well. So our plan is to really tour our asses off next year when we've done the second album."

Of course, not everything always goes according to plan. One thing that isn't helping the band in their efforts to conquer America is MTV's reluctance to air any of their videos. Truth be told, though, they've really only got themselves to blame”.

I do want to round things off with some reviews. Drowned in Sound provided their thoughts on an album which I think should be talked about alongside the best of the 1990s. Although some feel there were better albums than 1977, there is no denying that Ash’s debut made an impact and is important. Reaching number one in the U.K. upon its release, it was a huge moment for the Downpatrick three-piece:

“And it starts well. Very well. Lose Control's rawkus, quiet/loud punk action almost smells of packed out youth clubs with Tim Wheeler at the mic, losing his heart to teenage love and its naïve charm. He even then, in a whirl of sexual frustration, gives us sensational wanky-lead and wah pedal action to volcanic effect. Put up the parasol...I'm in heaven...

Oh but there's more...Goldfinger's majestic and almost Stone Roses (well...the beginning reminds me of them...) like pop swagger jumps into your arms like the lovely 16 year old damsel you always dreamed of. The sappy imagery of "Listening to the rain" is just fantastic. Never has music sounded so damn young and with the prospect of sex always looming. When Girl From Mars comes in, the question must be; Could these boys ever survive out of the sixth form college? Could their little hearts really handle it? Angel Interceptor is the icing on the already heavily tiered cake. Sweet and seducing cute-punk as only Ash seem to deliver. Teenage girls everywhere are swooning to the pop screwing sensitive types and the boys are just rocking along with their invisible low slung Flying-V's (especially to Kung Fu).

This album still does have its faults. For a man who lusts after The Pixies sometimes the album just is too... soft. "Always on my mind" totting Lost In You is like a tear stained Shed 7 in slow motion. Gone The Dream's polite indie is just a space filler along with Let It Flow's samey pop rotation and Innocent Smile's slow build-up frankly is too slow for me. Harder tracks like Darkside Lightside and I'd Give You Anything are fine but are not what Ash do so well.

This album is an album by the young for the young. And as that it is almost out on its own. Though it is by no means perfect or complete, the severe hooks of the best of the Brut smothered tunes will always get 1977's name mentioned. This the perfect album to bring back all those memories of early Moshing experience, crop tops and countless cold showers”.

I am going to end with the BBC and their review of 1977. Eventually being certified Platinum in the U.K., many publications – including Kerrang! and NME – included NME on their best-of-the—year lists for 1996. I do hope that something is done to mark thirty years of Ash’s debut, as it is a remarkable album:

“There are albums that define generations, and then there are those that will forever soundtrack a flash rather than a lingering resonance heard across the years. Ash’s debut LP, named in honour of the year Star Wars hit cinema screens and "opened" by the scream of a TIE Fighter (unless you had a CD copy with two hidden tracks at the beginning – this writer did), falls face-first into the latter category, sauce from last night’s takeaway still sticky on its chin and with a less-than-faint whiff of booze about it.

1977 is perhaps best remembered by those who shared in its sentiments – written by a trio of teenagers, for an audience of the same, it preoccupied itself with chugging alcohol, chasing after girls and messing about with martial arts. Frontman Tim Wheeler was just 19 at the time of its release and, like most 19-year-olds, was likely enjoying legal drinking age status; but his songs recall a time just previous to chucking away the fake ID, where park benches were bar stools and a bottle of flavoured wine drink was the choice of the get-drunk-quick teen on their way to a parents-away party.

For this writer, who sold a games console to pick up this record (amongst others, in a since-closed-down-local-indie-shop binge), singles like Angel Interceptor, Girl From Mars and Kung Fu will forever soundtrack foggy memories of spilling out of houses that weren’t home, at a time when bed should have been reached some hours earlier. And this writer is certain he’s not alone in feeling that way.

But listening today, almost 16 years after its release, 1977 isn’t all pop-punk knock-abouts in the vein of its mini-LP predecessor Trailer (one of its tracks, Jack Names the Planets, is one of the pre-Lose Control hidden gems). Goldfinger has stood up to the test of time mightily well, roaring into life with a maturity that wouldn’t fully compose itself until Ash’s third album, 2001’s Free All Angels. Here, bespectacled drummer Rick McMurray sounds as if he’s pounding mountains while lanky bassist Mark Hamilton’s pulling off Jedi mind tracks with his four-string; at the time of writing, the toes can’t help but tap along to something of a Britpop-period classic.

Hamilton’s sole solo composition, Innocent Smile, is amongst the simpler arrangements, in debt to stateside grunge bands and replete with delinquent lyrics – but its raw energy remains as infectious in 2012 as it’s ever been. Best-known cut Oh Yeah helped shift its share of albums, peaking at 6 on the singles chart in the June of 1996, and Wheeler’s imperfect vocal makes its tale of teenage infatuation all the more believable. He’d become a better singer, but has never quite conveyed emotion as perfectly as he did so here. And to the ears of a 16-year-old, his words were gospel: this was the way to rule.

And rule Ash certainly did: every single from 1977, 95's Girl From Mars onwards, went top 20, and their between-LPs effort A Life Less Ordinary (from the film of the same name) was also a top 10 hit. Their stock may have fallen in recent years, but to listeners of a certain vintage Ash will forever be summer holidays and half-inched hooch, stained into the grey like a spilled alcopop”.

For anyone who might be unfamiliar with Ash’s 1977, go and play the album. You will be familiar with a few of the songs at least. Turning thirty on 6th May, I wanted to spend some time with 1977. It is an album that makes an impact and elicits reactions…

TO this day.

FEATURE: “You Guys Just Hate Women, Actually” A Misogynistic Double Standard Applied to Women in the Music Industry

FEATURE:

 

 

“You Guys Just Hate Women, Actually”

IN THIS PHOTO: Zara Larsson

A Misogynistic Double Standard Applied to Women in the Music Industry

__________

THAT quote at the top…

IN THIS PHOTO: Chappell Roan

of this feature was actually said by Zara Larsson. She is one of the biggest artists in the world, and someone who I will be writing about soon for a separate feature. The Swedish-born artist released the acclaimed album, Midnight Sun, last year. She was speaking with The Guardian about that album and reacting to its success. An artist overdue the sort of recognition that, she is perhaps best known for the 2015 single, Lush Life, which has passed two billions Spotify streams. The article writes how “Part of what has made Midnight Sun so irresistible to fans – who call themselves Larssonists – is its genuine youthfulness: it is ultra-fun, uber-femme and whip-smart, evoking tan lines on chests, handprints on butts and skinny-dipping in the dark, all delivered in Larsson’s bright, startlingly powerful three-octave singing voice”. At a time when women in Pop are dominating and creating some of the most powerful, uplifting and unifying music, Zara Larsson does not get talked about in the same way some of her peers do – and what should change. I shall expand on that further in another feature. However, she did react to the recent criticism and controversy around Chappell Roan – something I also wrote about – and the incident of a girl fan who wanted to approach Roan but a security guard stepped in and there was this awkwardness. Turning out that the security guard did not work for Roan or the hotel she was staying at, Roan also didn’t witness the incident but is getting blamed and dragged none the less. Chappell Roan is an extraordinary artist but probably not someone who thrives on fame and attention. She has had boundary issues with fans, many of whom have been unsettling and far too forceful and inappropriate, so it is understandable that she would want her privacy. Zara Larsson is also an extraordinary artist, but someone who knows the press and that side of things is a game.

She thrives on attentions of all forms and is similar to U.S. artist Addison Rae in that sense. Larsson also talked about ageism and sexism in the industry and how women over forty, if they look forty, are seen as past it and on the shelf. Robyn’s new album, SEXISTENTIAL, has been widely praised. It is a very charged, extraordinary and sexually open album. Artists like Robyn (who is over forty) often have been dismissed or seen as impropriate if they talk about sex at that age. Something that only seems to apply to women. Larsson is this young artist who is standing up for other women in the industry, collaborating with them and raising them and also being a great role model. That idea of knowing the paparazzi’s game and playing it might seem unwise and a bad example, but it subverts expectations and means that, if the artist is playing the game, it is not as alluring and interesting for the press. They are being played so what they thrive on, invading privacy and these unwarranted harassments, sort of don’t apply. A powerful and strong artist like Zara Larsson very much on control. She did say something about the treatment of Chappell Roan and what happened to her recently:

“Sometimes fame can feel like a Faustian bargain, with scrutiny, sexism and presidential subtweets coming as part of the package. As her star has kept rising, Larsson has been wondering if there are limits to how much fame she can take. Could she handle it if she was as famous as, say, Chappell Roan, now in regular standoffs with the paparazzi? “The more people hate her, the more I love her,” says Larsson. “I don’t like how she’s being treated at all. When a woman has boundaries, I think people freak out. Men can do violent criminal things and people applaud them, but when a woman says, ‘Stop following me,’ it’s controversial? It’s like: you guys just hate women, actually”.

It is quite telling. There are plenty of men in the music industry who, far from being cancelled, are enjoying the freedom to play gigs. Sure, a few have been jailed for crimes and you hope that when they are released their careers will be over, though there are so many men in the music industry who have done awful things and are reprehensible, and yet rules and laws do not apply to them. There are very few cases of women doing violent or criminal things. When they do something wrong or say something that is misjudged, then they are called out and often torn apart in a way men aren’t. There is also the misogyny and violence aimed at them. I think there is that expectation that women in music should always be available and there should really be no boundaries. If women are confident, make music that is seen as provocative or just simple true to them and has that a sense of power or confidence or whatever, then that is an invite to break boundaries or do anything. If men snap or react violently and are obnoxious then there is very little furore and they continue on. However, if any artist like Chappell Roan dares to want some space and not be approached by fans, then there is that misogyny and double standard. The fact that the recent case of a young fan being upset by a security guard after not doing anything wrong is not Chappell Roan’s fault. Some random security guard took it upon himself to be an idiot and, whereas he should have been criticised and taken to task across social media, so many of the posts were disrespectful to Chappell Roan and really offensive. If the roles switches and Roan was the security guard and the guard – whose name I can’t be bothered to look up – was the ‘artist’, then Roan would still get sh*t. Zara Larsson is not suggesting that all journalists and fans out there have this double standard and go after women more than men. Though I do feel like there are a lot of journalists and people in the industry who do hate women. Anything that is perceived being even slightly wrong, then they are there pouncing and ready to attack them. You can dress it up anyway you want, though it this continuing misogyny that is rampant through music. I keep writing about this because, more and more, there are stories of female artists and women in music who have received such hatred and vitriol for either not doing anything wrong or something minor.

Take men and the fact that nearly everything controversial, criminal or worse is because of them, and how often do they face serious repercussions or are even properly called out and criticised? The freedom they are allowed is staggering. If the male artist is profitable enough then rules and morals don’t apply to them. Chris Brown assaulting Rihanna, he is someone who has also been accused by other women of being violent, yet he has not only been allowed to continue his career and collaborate with other arrests – who really need to check their sanity, moral compass and soul before doing this! -, but he has headlined festivals and is getting booking and selling out shows (the fans, likewise, need to check their brain cell count and see if they have reflections at all!). Kanye West is abusive, racist, antisemitic and a repulsive human. Men like him are not held accountable. In his case, using the pathetic accuse of having mental health struggles – people who suffer from mental health issues can do so without being racist and offensive! -, and that lets him off the hook. Kiana Fitzgerald reacted to this in her recent feature:

“Despite what he emoted in the much-discussed Wall Street Journal apology ad from January, Kanye West has done pretty much none of the moral soul-searching or action that many, including me, called for. “It’s not easy to lead the discussion when you’re fighting for your life against mental illness,” I wrote in an open letter on January 27th. “But some of us have taken up the task, regardless of the state of our health. You weren’t ready to put the bipolar conversation on your back then. I wonder if you’re finally ready now.”

For some, including mental health experts, the apology represented authenticity and progress. “When I read it, I honestly felt sad about it,” Houston-based licensed psychologist Dr. Bianca Jones told me last month. “It seemed sincere.” As someone who lives with bipolar type 1, like Ye, I agree with Dr. Jones. The ad was a major first step in making amends for his actions. But sincerity without follow-through is just optics — something West has long understood how to weaponize.

In February 2025, West started selling T-shirts with a swastika emblazoned on them. This came less than two years after he apologized to the Jewish community for previous transgressions. Within months of selling the shirts, Ye released a song called “Heil Hitler,” which praised and sampled a speech by the Nazi leader. While the song was banned in Germany, it went viral online and inspired dickhead influencers like Andrew Tate and Nick Fuentes.

With regards to the Black community, Ye has famously made jaw-dropping comments like slavery was “a choice,” and worn a T-shirt that bore the slogan “white lives matter.” West has also appropriated the Confederate flag, a symbol recognized for its deep anti-Blackness. In 2024, one of his former employees filed a lawsuit that alleged West often treated Black employees worse than white ones, berating them on several occasions. And to be clear, these are just a few of his many transgressions over the last two decades.

In the two full months since the ad was published, Kanye has not come forward with any tangible ideas to unburden the bipolar, Jewish, or Black communities. Instead, he reminded us that he doesn’t need to apologize to be a top artist; he’s Kanye fucking West. “It’s my understanding that I was in the top 10 most listened-to artists overall in the US on Spotify in 2025, and last week and most days as well,” West told Vanity Fair on January 27th. “My upcoming album, Bully, is currently one of the most anticipated pre-saves of any album on Spotify, too.”

Most of us with good sense noticed that Bully was initially set to be released the week of the apology ad. Ye insisted that this was unintentional (how could we be so stupid to assume?) and coincidentally pushed the album back to March 28th. Between the ad and the release date, Ye has been extraordinarily busy making plans and making moves. He can’t do that alone.

On March 9th, Ye announced a one-night concert at SoFi Stadium in Los Angeles, set for April 3rd. When artist pre-sale tickets went live on Ticketmaster the following day, over one million people were in the queue, leading Ye to announce a second show for April 1st. Tickets to Ye’s first US show in five years ranged from $125 for the cheapest seats to $595 for floor.

Beyond L.A., Ye will bring his performances to numerous countries: He played Mexico City on January 30th and 31st, and will play New Delhi on May 23rd, and Arnhem, Netherlands on June 6th and 8th. (For both Mexico City and Arnhem, tickets for the initial date sold out so quickly that they added a second.)

This is all on top of a three-night Wireless Festival headlining takeover in London from July 10th through 12th, and a 103,000-capacity show in Reggio Emilia, Italy on July 18th. It’s obvious that not booking Ye means leaving money on the table — but these shows prove his past actions may as well mean squat. The venues he’s booking are massive, often requiring multiple show dates. Promoters may have empathy for the communities impacted by Ye’s rants, but they see green, and green only.

Bully itself is currently projected to move about 117,000 first-week units, on track to debut at No. 2 on the Billboard 200, behind BTS’s ARIRANG. For context, Vultures 1 sold 148,000 first-week units and debuted at No. 1. Vultures 2 moved 107,000 first-week units and debuted at No. 2, where it peaked. After everything Ye has put the world through, a relatively flat commercial performance could be seen as a success.

Ye’s fans aren’t the only ones tuning in. Sites like Pitchfork, Complex, and Rolling Stone reviewed Bully, while Variety, Billboard and The Hollywood Reporter covered Ye’s first night at SoFi. It’s not even as simple as wanting to contribute to the record of criticism. (There are such things as retrospective reviews.) At certain sites, the clicks are worth the coverage.

Most, if not all, of these publications claim the moral high ground in other instances, from coverage of music to show business. For a time, they even drew a line in the sand with Kanye — but then everyone shrugged their shoulders and went back to covering him immediately. These outlets are essentially riding the wave of the Trump effect: platforming to platform. And Kanye West will almost always put numbers on the board. He’s been telling us this for decades. But in order for these sites to collect their coins, event promoters have to pull the trigger and book Ye in the first place.

Bookers hold more power than any individual news outlet. If anything, everyone in the orbit of bookers ends up downstream of demand. These promoters are effectively bringing Ye’s visions to life and paying him millions, while also ensuring their pockets are fattened in the process. The venues and their proprietors also have a hell of lot to gain, much to the dismay of people in the communities that have been impacted by Ye’s rhetoric. “If he remains on the right path and makes more effort to make amends, that is well and good, but if he returns to his old ways these venues will have much to answer for,” the charity Campaign Against Antisemitism told the BBC on March 31st”.

Circling back to Zara Larsson and what she said about how there are those in the industry that hate women. More than that, they hate women and will open doors for men. We see it time and time again. How can Chappell Roan, an artist who has simply dared to speak out and say she wants boundaries and for intrusive fans to leave alone, gets all this flack and misogyny because of that. Look at someone like Kanye West and countless men in music who are genuinely awful and should been given a global cancellation, and yet they can flourish and get a free pass. In spite of female dominance in music and the unquestionable superiority they have over men in music – not that we should pit them against one another, but the fact is women in music are releasing the best albums and on the most successful tours right now -, it is still a patriarchy. That fear that powerful male artists being punished, imprisoned and cancelled would be an awful thing. Yet, if a women does anything slight or innocuous then they are piled on. Nothing will change – because, when it comes to misogyny, saying there have been baby steps towards improvement is an overstatement -, yet it is high time that it should! Zara Larsson’s comments for The Guardian are timely and strike a chord. The only upside is that Chappell Roan will have a long career, release award-winning albums and hopefully live a happy life where fans can respect her but know their place and give her the space and privacy she deserves. There does need to be a shift and the double standard and toxic culture that has been allowed to fester does need to be challenged. You have to ask, as misogyny and men getting to slide happens time and time again…

WILL it ever change?!

FEATURE: Kate Bush: Them Heavy People: The Extraordinary Characters in Her Songs: Mammy’s Hero (Army Dreamers)/Rubberband Girl (Rubberband Girl)

FEATURE:

 

 

Kate Bush: Them Heavy People: The Extraordinary Characters in Her Songs

IN THIS PHOTO: Kate Bush in 1980/PHOTO CREDIT: John Carder Bush

Mammy’s Hero (Army Dreamers)/Rubberband Girl (Rubberband Girl)

__________

MAYBE a bit…

IN THIS PHOTO: Kate Bush in 1993

of a stretch (no pun intended), I am going to include a ‘character’ from the lead single from Kate Bush’s 1993 album, The Red Shoes, that may well be one of her most revealing and honest to that point. I am beginning by studying a track from 1980’s Never for Ever. I am going to pair these two albums together soon, as there is a song from each that mentions a lot of different people/characters. However, as these two songs were singles and they are very important, there are characters from them that are worth spotlighting. Let’s start with Army Dreamers. I could have talked about ‘Mammy’ in the song. A mother of a son who has been sent to war and died young. Presumingly seeing her as Irish – as Kate Bush’s mother was Irish -, instead I am turning my focus to Mammy’s Hero. The unnamed son that goes to war. Perhaps feeling it is important or something he had to do, I will revisit some themes I have addressed when discussing this song in the post. Before getting to those areas of exploration, it is worth getting some interview insight from Kate Bush:

“It’s the first song I’ve ever written in the studio. It’s not specifically about Ireland, it’s just putting the case of a mother in these circumstances, how incredibly sad it is for her. How she feels she should have been able to prevent it. If she’d bought him a guitar when he asked for one.

Colin Irwin, ‘Paranoia And Passion Of The Kate Inside’. Melody Maker (UK), 10 October 1980

No, it’s not personal. It’s just a mother grieving and observing the waste. A boy with no O-levels, say, who might have [??? Line missing!] whatever. But he’s nothing to do, no way to express himself. So he joins the army. He’s trapped. So many die, often in accidents. I’m not slagging off the army, because it’s good for certain people. But there are a lot of people in it who shouldn’t be.

Derek Jewell, ‘How To Write Songs And Influence People’. Sunday Times (UK), 5 October 1980

The Irish accent was important because the treatment of the song is very traditional, and the Irish would always use their songs to tell stories, it’s the traditional way. There’s something about an Irish accent that’s very vulnerable, very poetic, and so by singing it in an Irish accent it comes across in a different way. But the song was meant to cover areas like Germany, especially with the kids that get killed in manoeuvres, not even in action. It doesn’t get brought out much, but it happens a lot. I’m not slagging off the Army, it’s just so sad that there are kids who have no O-levels and nothing to do but become soldiers, and it’s not really what they want. That’s what frightens me.

Kris Needs, ‘Fire In The Bush’. ZigZag (UK), 1980”.

There is a lot to discuss based off of these interviews. Kate Bush has said how Army Dreamers is about a mother who loses her son and questions her motherhood. I think that it is intriguing that she was thinking about this around 1979 or 1980. As she wrote it in the studio, perhaps this was one of a few songs in her career where she was reacting to the news. The song I am coming onto is another that she wrote in the studio, and I found that connection interesting. However, it is the urgency that is exciting. Up until this point, Bush’s work rarely touch on world events and politics. I think she was keener to explore different characters and channel her love of film asnd T.V. She did open up her heart and soul in some songs but, largely, there was this fictional element. When writing about love or loss, often some other character or person was cast in the song. I speculated before, though I wonder which conflict(s) she was moved by. It could have been the Soviet-Afghan War (1979–1989), or the Iran-Iraq War (1980–1988). Maybe it was the former, as the Iran-Iraq war started in September 1980. That was the month Never for Ever was released. If not reacting to specific global tensions, there was conflict and riots in the U.K. in 1980. The 1980 U.K. riots began with the St Pauls riot in Bristol on  2nd April, 1980, sparked by a police raid on the Black and White Café. It was driven by tension between Black communities and police over ‘sus’ laws, inner-city deprivation, and racism. The senselessness of violence and division. Those who were being attacked or supressed. You can apply Army Dreamers to local violence as you can with international wars. How mothers lose their sons in this senselessness. Army Dreamers resonates and remains popular because we have learned nothing. Right now, there is murder, genocide and destruction. Although the nature of war has changed and we might think of the violence as coming from the skies and less on the ground, young lives are still taken.

I am going to include a recruitment poster published by the Ministry of Defence in 1980. How war and drafting young men was represented. Making it sound like advice. Asking for engineers and mechanical minds to maintain the equipment used by the army. They still do this now. Adverts for the Royal Navy. Almost making it seem like this glamorous life where people are useful and get to have this fulfilling job. More interesting than regular jobs, I do feel like recruitment and drafting by the army or navy should not be on television. It does seem problematic for young people who are thinking of joining. Perhaps they feel they are doing good and this is like a national service or a calling. Instead, there is violence often involved. Especially now, there is call for people to risk their lives to attack or defend countries. Do people think about the families at home who have to receive news of a child’s death? Someone in their twenties – like Mammy’s Hero in Army Dreamers – who was “only in his twenties”?! It is scary that this is something we have to talk about in the modern age. I like how Buch did bring this into her music at the start of a decade that would see major conflicts and some of the worst violence in years. The Falklands among the conflicts of the 1980s. I am going to come to a feature about Army Dreamers to end this section. Going back to that first interview. How much guilt on the mother? We listen to Army Dreamers and feel sympathy with Mammy. Bush maybe unconsciously referencing her mother. Bush’s family supportive of her ambitions. Never a chance Kate Bush would be asked to join the army. Though weaponry, violence and this sort of theme was kind of explored again for 1986’s Experiment IV. The government making this device and machine that could kill people by sound. However, what if the mother had given her son a guitar when he asked? Children ask their parents for stuff like this and they have all these loft dreams. Did the mother encourage her son to do something ‘useful’ or practical and not chase wild dreams?! Going into war seen as helpful or like a purpose. Instead, her son was killed. It is an interesting angle I had not considered. How much of the lyrics were Kate Bush looking at her life? If she had not been granted a path to music and her parents resisted, would her life have turned out far worse? Not as extreme as dying in battle, but how there needs to be trust from parents when their children do want to pursue a path that is perhaps not orthodox or seems unlikely.

In the second interview, Kate Bush giving a different perspective. Someone struggling in education and, instead of learning a trade or redoing exams, the army is seen as an only option. How realistic was this in the 1970s and 1980s? Today, children, especially here, do not get drafted and there is not this option that, if you can get educated, then you go into the armed forces. However, it might have been an only way out for Mammy’s Hero. The next interview is the most revealing. How the Irish and Irish accent in Army Dreamers is emphasised. Army Dreamers almost like an Irish Folk song. This old tale of a young man killed in war. Bush saying that “There’s something about an Irish accent that’s very vulnerable, very poetic, and so by singing it in an Irish accent it comes across in a different way”. That is true. Bush’s accent and delivery does give Army Dreamers an elegance and sense of the poetic. Not that she saw romanticising war at all. Instead, she was mixing the beautiful and tender with the horrifying and stark. I did not know that Bush was also conscious of things like army manoeuvrers, especially in countries like Germany, where young men were killed there and not even in battle! If some think that Army Dreamers is about the futility of war and its insanity, it also can be seen as this excoriating attack on the education system and British society in 1979/1980. Around about the time Army Dreamers was written, Margaret Thatcher became Prime Minister. Thatcher's education policy (1979–1990) aimed to reduce state control, increase parental choice, and introduce market mechanisms into schools. In 1979, the U.K. labour market was at a turning point, with unemployment around 1.3 million in May. Manufacturing employment continued to decline, having lost 1 million jobs between 1970–1979. It was a terrible time. Those leaving school with no qualifications not able to get a job or not having the skills. These army dreamers thinking perhaps that being a soldier was an easier life. Instead, it was a reality that often meant premature death.

I have said before how many sexist journalists belittled Kate Bush and the fact she was not political. At a time Punk was in charge, Bush was seen as effete, insubstantial and airy-fairly. Danny Baker’s dreadful and insulting interview with Bush whilst she was still making Never for Ever. Not that this one interview led to Army Dreamers, though Kate Bush becoming much more conscious of bringing global conflicts, social elements and ‘deep’ subjects into her music. However, this being Kate Bush, she was not exactly a Punk act yelling and dully sloganeering or following the herd. You only need to see a few of the live performances of Army Dreamers and how they were staged. One or two performances quite camp and almost balletic. Bush bringing the quirky and kitchen sink into the performances. The video for Army Dreamers is the final one screened that was directed by Keith (Keef) MacMillan. You could tell Bush’s videos were growing in scope and becoming more filmic. Compare Army Dreamers with Wuthering Heights or Hammer Horror. In a short time, she had taken a big step in terms of her visuals and how her videos would look. In Army Dreamers, it is almost like a piece of film or a plot, rather than staged dance and about the choreography. Bush telling a story with the video. It is quite a startling video that hits hard all these years later. Dreams of Orgonon observe how, when it comes to war and young men dying, women are seen as devastated and emotionally broken. “the actual effects of trauma are widely besmirched and ignored by the jingoistic reactionaries who send civilians off to die”. This is not what Kate Bush does. The hero of the story has been snatches away from the mother, yet the mother is not broken and this cliché emotional wreck. She is strong and sad, yet there is this wider arc that is not about grief and what it does to those who lose their sons:

“There’s a touch of sentimentalism to this, if at least a grounded and humanitarian one. Violent deaths are often devastating because they cut short the lives of unsuspecting civilians who’ve been planning to go live their lives as usual the next day. Bush’s anti-militarism is hardly strident, but “Army Dreamers” has an edge to it even in its understatedness, blaming the services of “B.F.P.O” for overseas tragedies (although interestingly, her son’s death appears to be an accident — there’s little fanfare of death, no suggestion of the glory of battle). The horror of the death is largely its silence — all the things that couldn’t happen, no matter how much saying them would make them so.

The politics of the situation are left understated, as is typical for Bush, and yet with a light inimical rage, as if Bush is finally turning to the British establishment and shouting “look at what you’ve done!” While “Army Dreamers” is far from an indictment of the military-industrial complex (indeed, it has more to do with the British Army’s consumption of Irish civilians than anything else), its highlighting of war as futile is striking. “Give the kid the pick of pips/and give him all your stripes and ribbons/now he’s sitting in his hole/he might as well have buttons and bows” is a line of understated condemnation that spits on military emblems (pips are a British Army insignia) and consolidates trenches and graves. “B. F. P. O.,,” intone Bush’s backing vocalists again and again. In interviews, Bush backpedals from any perceived anti-militarist sentiments in her work (“I’m not slagging off the army…”), but her song tells a different story: nothing comes with B. F. P. O. except carnage.

In the song’s music video, Bush’s final collaboration with director Keef MacMillan (the two strong-willed auteurs could only collaborate together for so long), the visceral glimpses of departed loved ones that plague mourners gets captured in one devastatingly simple moment. Bush, a soldier stationed in a forest and surrounded by men in camo, turns to a tree to see her lost son. She runs to embrace him, and he’s gone before she reaches the tree. There’s a hard cut to Bush’s eyes flashing wide open. There it is: trauma and grief in a glance. Waking up, but still living the same dream”.

Reaching number sixteen in the U.K. upon its release, it was a modest success for Kate Bush. Perhaps fans of hers were not entirely sold on the song or expecting this direction. However, as Breathing was the first single from Never for Ever and also reached that chart position, people taking time to warm to Kate Bush as someone more political. Or that the songs were heavier. The second single, Babosohka, went to number five. Interesting too seeing how people reacted to the singles from Never for Ever. The more commercial and ‘traditionally Kate Bush’ faring better than her discussions around destruction, warfare, violence and death.

I have probably not gone into as much depth as I should with Mammy’s Hero and Army Dreamers. However, its lost son represents one of thousands of young men who needlessly were killed in battle. However, this second character is much more personal. One might argue it is not a character. However, as the Rubberband Girl was named and the title of the first single from The Red Shoes, it gives me chance to discuss this song and Bush as this character. I talked a bit about critical reaction and press interpretation of Kate Bush around Never for Ever in 1980. This was an album with Bush co-producing and taking more control. Her most confident album to date and first of the 1980s, she was on this upwards arc, and yet there were critics still mocking and insulting. In 1993, things had changed and I feel Kate Bush was at a stage where she was tiring or perhaps not seen as innovative compared to artists around her. Thanks to the Kate Bush Encyclopedia for this resource:

“This is Bush at her most direct… rhythmic, almost raunchy workout with the occasional outburst of rock guitar, strange lyrics – and a wired vocal impression of said office accessory being stretched. It is also a very commercial rejoinder.

Alan Jones, Music Week, 28 August 1993

Perhaps a little too up tempo for my tastes – I prefer my Bush all dreamy and mysterious. A minus the drums… but it still has enough kookiness to draw me under. And she’s still the only artist for whom the word “kooky” isn’t an insult.

Everett True, Melody Maker, 11 September 1993”.

It is arguable, that apart from Hounds of Love (1985), all Bush’s albums up to and including The Red Shoes was met by mixed reviews and some derision. That last interview about kooky not being seen as insulting, when blatantly it is! Rubberband Girl is not a kooky single. It was quite commercial, though in the 1990s and Bush pushing her music forward, I think it was necessary. Critics never really happy. Wanting her to be more commercial and accessible and then, when she is, they want her to be mysterious and odder! She was in this constant state of being true to herself but also wanting to sell albums and be relatable. However, by 1993, you could feel this strain taking hold. Kate Bush might not think of Rubberband Girl as her most autobiographical song. However, I feel it is up there with Hounds of Love in that sense. Number twelve in the U.K., Rubberband Girl was a success. Think about the singles being released at the same time Rubberband Girl came out (September 1993). It was an odd time in U.K. music. In terms of what was in the charts around August and September 1993, we had Billy Joel’s The River of Dreams, Culture Beat’s Mr. Vain, SWV’s Right Here, Mariah Carey’s Dreamlover and Nirvana’s Heart-Shaped Box. Boom! Shake the Room by DJ Jazzy Jeff & The Fresh Prince was also in the charts. Apart from Nirvana, I guess you could say Dance, Pop and Hip-Hop were trending.

How did Kate Bush fit into the scene in 1993? I do think that she was not compromising or trying to be like other artists that year. However, I do feel like there was a shift. Dance and Pop big at the forefront. Something Kate Bush was not naturally attuned to or was separate from, it was a difficult period. The Red Shoes reached two in the U.K. and twenty-eight in the U.S. Huge success here (though not with massive sales), that U.S. appreciate is notable. How she was connecting in the country at a time when genres like Grunge were perhaps seen as more commercial or cooler. Rubberband Girl is seen as a throwaway and silly Pop song by Bush. However, it was written in the studio and seems to have come together quickly. Rather than Bush tossing the song off and having to come up with a lead track that was Pop-heavy and accessible, I do feel like it absorbs some of Bush’s feeling and fatigue at the time. There is silliness to the song, though this idea of being knocked down and blown away and bouncing back on your feet. It was clear Bush’s career was in a slight decline and there was this slight downturn. Her songwriting and the critical reaction. “A rubberband bouncing back to life/A rubberband bend the beat/If I could learn to give like a rubberband/I’d be back on my feet”. On the surface, it may seem like Rubberband Girl is quite inessential or hollow. I do think it is Kate Bush casting herself as a Rubberband Girl. Being affected and feeling flattened by then having to get back on her feet and carry on. This promotional trail and this endless cycle. “When I slip out/Of my catapult/I gotta land with my feet firm on the ground/And let my body catch up”. It was a very unusual time anyway. Her mother died in 1992, and it was clear that Bush was losing people. There was this need for her to release music in the 1990s, but it was a decade that was so varied and perhaps one where Bush would not fit into so readily. In any case, she was at a natural point where she needed to stop and take a break away. Rubberband Girl reveals layers. Bush writing a song that perhaps was commercially demanded and would please critics and yet one that gives us a window into her mindset at the time.

 

Rubberband Girl was one of the songs that featured in the short film, The Line, the Cross and the Curve. I have talked about this a lot. It makes me think about Kate Bush and the source material. How so much of her work can be tied back to books, Folk songs, mythology, T.V., film and far beyond. If you look at many of Kate Bush’s songs, they can be traced back to some unusual or rare areas. Babooshka, from the aforementioned Never for Ever, inspired by (loosely, at least) a Folk song, Savoy, in which a young woman dresses a s highwayman to rob her lover to see if he will give her the gold love ruing she gave him. The husband refuses to give it up, which lets the woman know of his devotion. I feel like there should be a podcast or something that traces lines back to all the books, films and songs where Kate Bush had gained inspiration from. I mention this, as The Line, the Cross and the Curve was inspired by the 1948 film, The Red Shoes. The 1993 album obviously shares the title, though the only similarity or nod is the cover – Kate Bush’s feet wearing red shoes – and the title track. However, The Line, the Cross and the Curve was almost a remarking or reinterpretation of that film but with a new title. Written and directed by Michael Powell and Eric Pressburger, The Red Shoes follows Victoria Page (Moira Shearer), an aspiring ballerina who joins the world-renowned Ballet Lermontov, owned and operated by Boris Lermontov (Anton Walbrook), who tests her dedication to the ballet by making her choose between her career and her romance with composer Julian Craster (Marius Goring). I am not sure when Kate Bush encountered this film, though she had this fondness especially for Michael Powell, and the two did meet and I think discussed collaborating shortly before his death – though that never came to pass.

I do love how Bush was this innovator in 1993. If one feels The Red Shoes is one of her weaker album, consider how The Line, the Cross and the Curve was almost a visual album. One that was influenced by this 1948 film. If this was done today by a major Pop artist then they would get praise. However, Bush did get criticism. Rubberband Girl has a brilliant video where Bush dances and springs on a trampoline. In terms of concept, perhaps not as striking as other videos in that short film. However, this was one of the last times we get to see Kate Bush dance on film. Rubberband Girl sess her in quite an intense workout. The chorography and dancing quite energetic and flexible. Perhaps not the right words, it did at least show that, fifteen years since her debut single (Wuthering Heights) was released, Bush was still very much this amazing and compelling dancer. I do really love Rubberband Girl and the fact that this is a song that she re-recorded for Director’s Cut. One that she actually considered taking off of the album. I love the original and not sure that it should have been reproached. It is much more powerful and striking in its 1993 context than it was when included for Director’s Cut in 2011. I feel that people should seek out The Red Shoes. In terms of how Kate Bush was inspired, we get a deeper appreciation of here creativity when we look to the sources that she took from. There is the question as to whether the Rubberband Girl actually bounded back. In the song, it did seem to be the case that she got back on her feet. However, very shortly after the single came out, Bush would wind down and be seen in public less. It would be twelve years until here next album, Aerial was released. Perhaps one of the greatest acts of bouncing back in music history! A stunning double album and this…

AMAZING new chapter.

FEATURE: The Digital Mixtape: Janet Jackson at Sixty

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Greg Doherty/Getty Images

Janet Jackson at Sixty

__________

I am excited…

PHOTO CREDIT: Lynn Goldsmith

to mark the upcoming sixtieth birthday of one of the all-time Pop greats. Janet Jackson turns sixty on 16th May. To honour that, I have collated some of her best tracks onto a mixtape. One of the most iconic artists of all time, I will first bring in biography I think I have sourced before when it comes to Janet Jackson. AllMusic go into real depth about this phenomenal artist. Coming form a musical and famous family, it would have been easy for Janet Jackson to have been buried or overlooked in favour of Michael Jackson. However, I feel she has a more enduring legacy. One that is a lot more positive and inspiring. Her story is fascinating. I wonder if there will ever be plans for a Janet Jackson biopic? It would be amazing to see her story brought to the screen:

“Janet Jackson didn't merely emerge from the shadows of her famous brothers to become a superstar in her own right. Starting with her breakout 1986 album Control, she became one of the biggest pop stars of the '80s. Through the early 2000s, she was able to maintain her stature with impeccable quality control and stylistic evolution. Her singles, expertly crafted with indelible pop hooks and state-of-the-art production, consistently set or kept up with trends in contemporary R&B, demonstrated by an exceptional run of Top 20 R&B singles that spans over 30 years. From platinum album to platinum album, Jackson's image smoothly shifted as it projected power and independence. In turn, she inspired the likes of TLC, Aaliyah, Beyoncé, Britney Spears, and Rihanna, all of whom learned a few things from her recordings, videos, and performances.

Janet Damita Jo Jackson was born May 16, 1966, in Gary, Indiana. She was the youngest of nine children in the Jackson family, and her older brothers had already begun performing together as the Jackson 5 by the time she was born. Bitten by the performing bug, she first appeared on-stage with the Jackson 5 at age seven, and began a sitcom acting career at the age of ten in 1977, when producer Norman Lear selected her to join the cast of Good Times. She remained there until 1979, and subsequently appeared on Diff'rent Strokes and A New Kind of Family. In 1982, pushed by her father into trying a singing career, Jackson released her self-titled first album on A&M. "Young Love," written and produced by René & Angela and Rufus' Bobby Watson, reached number six on Billboard's R&B chart, but the album didn't cross into the pop market. She was cast in the musical series Fame in 1983. The following year, she issued her second album, Dream Street, which didn't sell as well as its predecessor. Upon turning 18, Jackson rebelled against her parents' close supervision and eloped with a member of another musical family, singer James DeBarge. However, the relationship quickly hit the rocks and Jackson moved back into her parents' home and had the marriage annulled.

Jackson took some time to rethink her musical career, and her father hired her a new manager, John McClain, who isolated his young charge to train her as a dancer (and make her lose weight). McClain hooked Jackson up with producers/writers Jimmy Jam and Terry Lewis, whom she'd seen perform as members of the Minneapolis funk outfit the Time. Jackson collaborated with Jam and Lewis on most of the tracks for her next album, Control, which presented her as a confident and tough-minded artist (with a soft side and a sense of humor) taking charge of her life for the first time. In support of Jackson's new persona, Jam and Lewis crafted a set of polished, computerized backing tracks with slamming beats that owed more to hard, hip-hop-tinged funk and urban R&B than Janet's older brother Michael's music. Control became an out-of-the-box hit, and eventually spun off six singles, the first five of which -- "What Have You Done for Me Lately," the catch phrase-inspiring "Nasty," the number one "When I Think of You," the title track, and the ballad "Let's Wait Awhile" -- hit the Top Five on the Billboard Hot 100. Jackson was hailed as a role model and Control eventually sold over five million copies, establishing her as a pop star. It also made Jam and Lewis, whose considerable accomplishments were previously limited to the R&B world, a monstrously in-demand pop production team.

For the hotly anticipated follow-up, McClain wanted to push Jackson toward more overtly sexual territory, to which she objected strenuously. Instead, she began collaborating with Jam and Lewis on more socially conscious material, which formed the backbone of 1989's Rhythm Nation 1814 (the "1814" purportedly stood for either the letters "R" and "N" or the year "The Star-Spangled Banner" was written). Actually, save for the title track, most of the album's singles were bright and romantically themed. Four of them -- "Miss You Much," "Escapade," "Black Cat," and "Love Will Never Do (Without You)" -- hit number one, and three more -- "Rhythm Nation," "Alright," and "Come Back to Me" -- reached the Top Five, making Jackson the first artist ever to produce seven Top Five hits off one album (something not even her brother Michael had accomplished). Aside from a greater use of samples, Rhythm Nation's sound largely resembled that of Control, but was just as well-crafted, and listeners embraced it enthusiastically, buying over five million copies in the U.S. alone. Jackson undertook her first real tour (she'd appeared at high schools around the country in 1982) in support of the album and it was predictably a smashing success. In 1991, Jackson capitalized by jumping from A&M to Virgin for a reported $32 million, and also secretly married choreographer and longtime boyfriend René Elizondo.

Once on Virgin, Jackson set about revamping her sound and image. Her 1992 duet with Luther Vandross from the Mo' Money soundtrack, "The Best Things in Life Are Free," was another major R&B hit and reached the pop Top Ten. The following year, she also resumed her acting career, co-starring in acclaimed director (and former junior high classmate) John Singleton's Poetic Justice, along with rapper Tupac Shakur. Neither really hinted at the seductive, fully adult persona she unveiled with 1993's janet., her Virgin debut. Jackson trumpeted her new image with a striking Rolling Stone cover photo -- an uncropped version of the cover of janet. -- in which her topless form was covered by a pair of hands belonging to Elizondo. Musically, Jam and Lewis set aside the synthesized funk of their first two albums with Jackson in favor of warm, inviting, gently undulating grooves. Jackson took credit for all the lyrics. The album's lead single, the slinky "That's the Way Love Goes," became Jackson's biggest hit ever, spending eight weeks at number one. It was followed by a predictably long parade of Top Ten hits -- "If," the number one ballad "Again," "Because of You," "Any Time, Any Place," and "You Want This." janet.'s debut showing at number one made it her third straight chart-topping album, and it went on to sell nearly seven million copies in the U.S.

In 1995, Janet and Michael teamed up for the single "Scream," which was supported by an elaborate, award-winning, space-age video that, upon completion, ranked as the most expensive music video ever made. The single debuted at number five on the Hot 100. The same year, A&M issued a retrospective of her years at the label, Design of a Decade 1986-1996; it featured the Virgin hit "That's the Way Love Goes" and a few new tracks, one of which, "Runaway," became a Top Five hit. In 1996, Jackson signed a new contract with Virgin for a reported $80 million. Yet while working on her next album, Jackson reportedly suffered an emotional breakdown, or at least a severe bout with depression. She later raised eyebrows when she talked in interviews about the cleansing value of coffee enemas as part of her treatment. Her next album, The Velvet Rope, appeared in 1997 and was touted as her most personal and intimate work to date. The Velvet Rope sought to combine the sensuality of janet. with the more socially conscious parts of Rhythm Nation, mixing songs about issues like domestic abuse, AIDS, and homophobia with her most sexually explicit songs ever. Critical opinion on the album was divided; some applauded her ambition, while others found the record too bloated. The lead American single "Together Again," an elegy for AIDS victims, was a number one hit. Also popular on the radio was "Got 'Til It's Gone," which featured rapper Q-Tip and a sample of Joni Mitchell over a reggae beat. "I Get Lonely," featuring Blackstreet, was another big hit, but on the whole, The Velvet Rope didn't prove to be the blockbuster singles bonanza that its predecessors were, which was probably why its sales stalled at around three million copies.

Jackson toured the world again, and stayed on the charts in 1999 with the Top Five Busta Rhymes duet "What's It Gonna Be?!"; her appearance in the video remade her as a glitzy, artificially costumed, single-name diva. In 2000, she appeared in the Eddie Murphy comedy Nutty Professor II: The Klumps, and her soundtrack contribution, "Doesn't Really Matter," became a number one single. Unfortunately, Jackson's marriage to Elizondo had become strained and the couple filed for divorce in 2000, sparking a court battle over her musical income. Jackson returned with a new album, All for You, in 2001, which largely continued the sensual tone of janet. and The Velvet Rope. It debuted at number one, selling over 600,000 copies in its first week alone. The title track was issued as the album's first single and quickly topped the charts, followed by another sizable hit in "Someone to Call My Lover. "While Jackson spent much of 2001 and 2002 on the road supporting All for You, she also found time for some guest appearances, most notably with Beenie Man on his Tropical Storm LP and Justin Timberlake on Justified. By 2003 she was back in the studio, working once again with Jam and Lewis on tracks for a new album. Additional producers included Dallas Austin and Kanye West. The following year began with an Internet leak of the upbeat Austin production "Just a Little While." The singer's camp rolled with the punches, offering the track to radio as an authorized digital download, but the buzz this business caused was minuscule in comparison to the nightmare union of free exposure and bad publicity that Jackson's next adventure caused. Appearing during the halftime show of Super Bowl XXXVIII, Jackson performed "All for You" and "Rhythm Nation" before bringing out surprise guest Timberlake for a duet on his hit "Rock Your Body." But the real surprise came at song's end, when a gesture from Timberlake caused Jackson's costume to tear, exposing her right, pierced breast on live television to hundreds of millions of viewers.

The incident caused furious backpedaling and apologizing from Timberlake, Jackson, the NFL, CBS, and MTV, which swore no previous knowledge of the so-called "wardrobe malfunction," and led to speculation over how Damita Jo -- Jackson's upcoming album and her first in three years -- would be received. But while the controversy gave Jackson both grief and a bit of free advertising, it was also the impetus for a national debate on public indecency. A federal commission was set up to investigate prurience, the FCC enacted tougher crackdowns on TV and radio programs broadcasting questionable content, and suddenly everyone from pundits to politicians to the man in the street had an opinion about it. Later that March, the singer quietly started making the talk show rounds. She was still apologizing for the incident -- while Timberlake escaped unscathed -- but she was also promoting Damita Jo, which Virgin issued at the end of the month. Largely considered a disappointment, the album nonetheless sold over two million copies worldwide and earned three Grammy nominations. 20 Y.O. followed two years later, and though it was reviewed more favorably than Damita Jo, it was off the Billboard 200 album chart after 15 weeks. Jermaine Dupri, Jackson's love interest and the executive producer of the album, was so upset over Virgin's lack of support that he left his post as president of Virgin's urban division. Dupri moved to Island, and so did Jackson. In 2008, Jackson released her tenth studio album, Discipline, which became her sixth release to top the Billboard 200, despite another tumultuous artist-label relationship.

Although Jackson didn't release another album for seven years, the longest gap in her discography was filled with professional activity and major life changes. During the filming of Why Did I Get Married Too?, she learned of her brother Michael's death. Soon after, she and Dupri split, and she toured in support of Number Ones, a double-disc anthology promoted with the number one club hit "Make Me." She took the lead role in the big-screen adaptation of For Colored Girls, published a book, and remained deeply connected to various causes as a philanthropist. In 2015, she returned on her own Rhythm Nation label with "No Sleeep," a slow-jam Jam and Lewis collaboration that hit the R&B Top 20. It primed her audience for a tour, as well as her 11th studio album, Unbreakable -- another number one hit. Plans for the tour were postponed so Jackson could focus on family; she wouldn't return to the road until 2017”.

I hope that there is a lot of celebration around Janet Jackson on 16th May. The sixtieth birthday of an artist who has released some of the best-selling and important albums ever. Everyone will have their favourite though for me, it might be Control – which turned forty earlier this year. This is my salute to…

A music legend.

FEATURE: Live to Tell: Madonna's True Blue at Forty

FEATURE:

 

 

Live to Tell

Madonna's True Blue at Forty

__________

I am looking ahead…

IN THIS PHOTO: Madonna in 1986/PHOTO CREDIT: Herb Ritts

to 30th June and the fortieth anniversary of Madonna’s True Blue. In terms of steps forward, this was one of the biggest of her career to that point. After 1983’s Madonna came 1984’s Like a Virgin. Both albums can be seen as quite light Pop. Extraordinary albums, though maybe what you would expect from that period of the 1980s. True Blue in 1986 was an evolution. More mature in terms of its sound, Madonna also underwent a transformation in terms of her styler and look. Rather than repeat her first two albums, she did something new with True Blue. Forty years later and I feel the album endures. Sounding less dated than her earlier albums. Before getting to some features and reviews around True Blue, here is an archive interview from The New York Times from 29th June, 1986:

“'I like challenge and controversy - I like to tick people off,'' Madonna boasted, tossing her head and flashing a mischievous half-smile. The 27-year-old pop star was sipping a diet cola in a conference room at the New York offices of Warner Bros. Records. She appeared almost demure in a pink-and-blue flowered dress and a very short haircut inspired by the late-50's gamine look of Jean Seberg, Audrey Hepburn and Leslie Caron. Gone along with most of her hair was the heavy makeup and jewelry that made last year's Madonna resemble a contemporary street version of Marilyn Monroe in ''Gentlemen Prefer Blondes.''

''After awhile I got sick of wearing tons of jewelry - I wanted to clean myself off,'' Madonna said flatly. ''I see my new look as very innocent and feminine and unadorned. It makes me feel good. Growing up, I admired the kind of beautiful glamorous woman - from Brigitte Bardot to Grace Kelly - who doesn't seem to be around much anymore. I think it's time for that kind of glamour to come back.''

If Madonna's new upscale look represents a dramatic swing away from the provocative sex symbol who wore lingerie as outerwear and crucifixes like diamonds, it does not signal an end to her courting of controversy. ''Papa Don't Preach,'' the second single from her third album, ''True Blue'' (Sire 25442; LP, cassette, compact disk), is bound to rile some parents of teen-age girls. The protagonist of the song, which was written by Brian Elliot, is a pregnant adolescent who begs her father to bless her decision to keep the baby and marry her boyfriend. Madonna sings it in a passionate, bratty sob that makes the plea immediate and believable.

The song has also been turned into a compelling slice-of-life music video. Filmed on location in a working-class neighborhood of Staten Island, with Danny Aiello playing the father, it features a virtuoso performance by a waifish, saucer-eyed Madonna, who looks all of 15 as she quivers anxiously, awaiting her father's response. Like Michael Jackson's ''Billie Jean,'' the song and its video have an iconographic resonance that could push Madonna's career to an even higher plateau than the household-word status she attained last year with her 6 1/2-million-selling second album, ''Like a Virgin.''

'' 'Papa Don't Preach' is a message song that everyone is going to take the wrong way,'' Madonna proudly predicted. ''Immediately they're going to say I am advising every young girl to go out and get pregnant. When I first heard the song, I thought it was silly. But then I thought, wait a minute, this song is really about a girl who is making a decision in her life. She has a very close relationship with her father and wants to maintain that closeness. To me it's a celebration of life. It says, 'I love you, father, and I love this man and this child that is growing inside me.' Of course, who knows how it will end? But at least it starts off positive.''

''Papa Don't Preach,'' for which Madonna contributed a couple of minor lyrical revisions, is the only song on the album that Madonna didn't have a strong hand in writing. The song was sent to her by Michael Ostin, the same Warner Bros. executive who discovered ''Like a Virgin.'' Most of the album's eight other songs Madonna co-wrote with Patrick Leonard, the musical director for her 1985 tour, or with her sometime songwriting partner, Stephen Bray. The three also co-produced the LP.

While ''True Blue'' lacks the gleaming ultra-sleek aural surfaces of ''Like a Virgin,'' both its songs and Madonna's singing show a lot more heart. ''Live to Tell,'' written for the soundtrack of ''At Close Range,'' the movie starring her husband, Sean Penn, was released in advance of the album and recently spent a week perched at No. 1 on the pop charts. It proves that vocally Madonna isn't limited to catchy novelties and disco tunes - she can carry off a weightier ballad. The rest of the album consists of highly commercial dance-pop whose lyrics convey an upbeat message along with casual autobiographical references. ''True Blue'' takes its title from a favorite expression of Sean Penn, and is a tribute, according to Madonna, ''to my husband's very pure vision of love.'' Musically, it also pays homage to Motown and to 60's ''girl-group'' hits like ''Chapel of Love'' that are the direct antecedents of Madonna's sound.

The happy, Latin-flavored ''La Isla Bonita'' is Madonna's celebration of what she called ''the beauty and mystery of Latin American people.'' The itchy dance tune, ''Jimmy Jimmy'' commemorates her youthful fascination with James Dean. ''I used to fantasize that we grew up in the same neighborhood and that he moved away and became a big star,'' she admitted. ''White Heat'' is dedicated to another mythic rebel, James Cagney, whose voice opens the track in a snatch of dialogue from the movie of the same name. ''Where's the Party?'' Madonna explained, ''is my ultimate reminder to myself that I want to enjoy life and not let the press get to me, because every once in a while it does.'' ''Open Your Heart'' is about ''wanting to change somebody.'' And the album's final cut, ''Love Makes the World Go Round,'' preaches a cheerfully simplistic humanitarianism: ''Don't judge a man 'til you've been standin' in his shoes/ You know that we're all so quick to look away/ 'Cause it's the easy thing to do/ Make love not war.''

Obviously, Madonna is still much more significant as a pop culture symbol than as a songwriter or a singer. But the songs on ''True Blue'' are shrewdly crafted teen-age and pre-teen-age ditties that reveal Madonna's unfailing commercial instincts. And her singing, which has been harshly criticized as a thin imitation of the 60's girl-group sound, has strengthened.

''I grew up loving innocent child voices like Diana Ross, while she was with the Supremes, and Stevie Wonder, when he was young, and I practically swooned when I heard Frankie Lymon's records,'' she said. ''I don't know why, but I was always instinctively drawn to those voices. I don't think I sing like a woman. I sing like a girl, and it's a quality I never want to lose.''

But even more than a girlish voice, the quality that defines Madonna Louise Veronica Ciccone is an instinct for rebellion that she traces to her parochial school girlhood in Pontiac, Mich.

''When you go to Catholic school, you have to wear uniforms, and everything is decided for you,'' she recalled. ''Since you have no choice but to wear your uniform, you go out of your way to do things that are different in order to stand out. All that rebellion carried over when I moved to New York eight years ago to become a dancer. At dance classes, all the ballerinas had their hair back in a bun, and so I chopped my hair off and ripped my leotard down the front and put little tiny safety pins all the way up just to provoke my teacher. After all, where is it written that in order to be a better dancer you have to wear a black leotard and pink tights and have your hair in a bun? Going out dancing with my girlfriends in New York clubs, we would dress for provocation. What I was wearing at the time I was signed to a record contract became my look.

''What kids see in me is another rebel kid who says what she wants and does what she wants and has a joy in life,'' Madonna went on. ''The girls that dressed like me all got the joke - it was their parents who didn't. You didn't see those girls going off and doing awful things because they bought my records. What I've learned from all the controversy is that you can't expect everyone to get your sense of humor. But I've also learned that people eventually do catch on to what they didn't get at first. It's a nice surprise in the end when they, go, 'Hey, well, you know. . .I like that.' ''

A disciplined, immensely self-confident woman who doesn't eat meat, rarely touches liquor and rigorously trains her body every day, Madonna is a woman in charge of her life and career. She appeared to be uncowed by the voyeurism of a celebrity press that has dredged up vintage nude photos of her and made her recent marriage to Mr. Penn a running battle with the paparazzi. Madonna's title role of a freewheeling bohemian vagabond in the Susan Seidelman film ''Desperately Seeking Susan,'' along with her music-videos, has established her as a natural screen presence, and a larger movie career seems inevitable. In her next film, ''Shanghai Surprise,'' she plays a staid young missionary from Massachusetts who falls in love with a petty swindler, played by Mr. Penn. The film, which is set in pre-Revolutionary China, was shot in Hong Kong and is scheduled to be released this fall.

''I always thought of myself as a star, though I never in my wildest dreams expected to become this big,'' Madonna said bluntly. ''But I knew I was born to it. I don't know why. I think people are named names for certain reasons, and I feel that I was given a special name for a reason. In a way, maybe I wanted to live up to my name”.

I do think that True Blue is Madonna’s first masterpiece. In terms of her emotional and sonic range. There are moments of vulnerability and depth alongside Pop songs that are more fun and free. La Isla Bonita sitting alongside the extraordinary title track and Live to Tell. Maybe some of the deeper cuts, such as Jimmy Jimmy and Love Makes the World Go Round are less celebrated, but I feel they are exceptional songs. True Blue was the first time Madonna wrote/co-wrote all of the tracks. I forgot to mention arguably the standout, Papa Don’t Preach, and how that impacted. This article from 2021 celebrated thirty-five years of True Blue:

“Yet by 1986, Madonna was a superstar, one who had to contend with sexist, reductive criticism that zeroed in on her use of frank sexuality as well as criticism that she was a mediocre talent who bleated tinny dance-pop. It’s a ridiculous charge as both 1983’ Madonna and 1984’s Like a Virgin are excellent. And because dance-pop was (and still is) seen as primarily a producer’s genre, it was easy to dismiss Madonna’s input in her sound (even as early as 1983, she had a huge hand in the writing and production of her music)

But True Blue is a concerted effort to prove her mettle as an accomplished singer-songwriter. For the first time in her career, she co-wrote and co-produced all nine tracks. Her vocals matured, too – a throatier, fuller instrument has replaced the high-pitched trill of “Holiday” or “Material Girl”. She rejoined Stephen Bray, the drummer of Breakfast Club, a new wave band for which she drummed before she was famous. Along with Bray, Madonna also hooked up with Patrick Leonard, a prolific producer who would go on to become one of her most enduring collaborators.

As with her previous releases, True Blue is a brilliant dance-pop record, one that speaks to its time but also celebrates the disparate cultures that influence Madonna’s sound at the moment. Not only does she incorporate soul and R&B, but she also continues to explore queer dance club culture, as well as her affection for Latin pop. With Bray and Leonard, Madonna crams her album loud, aggressive drum machines, glossy keyboards, and plump synthesizers.

Before its release, True Blue’s first single, “Live to Tell”, was released in the spring of 1986. The single was only Madonna’s second ballad to be released as a single – her first was the swinging “Crazy for You” from the 1985 film Vision Quest – and it was a very deliberate effort to present Madonna as a mature and serious artist. The single is simultaneously cold and emotional. Leonard creates a chilly and vast soundscape with spacey, atmospheric synths punctuated with a drum machine. Madonna’s voice is lovely, gracefully conveying the deep regret in the song’s pained lyrics.

It was a gutsy choice for a lead single for a singer who was identified as a dance-pop singer. But it makes a lot of sense because if Madonna was interested in developing her craft, the best way to do that was to introduce her most ambitious record at that point of her career with a stirring, melancholy ballad. As if to dispute the charges that Madonna’s popularity was tied to her sexuality and not any discernible talent, the vocal arrangement on the song makes use of Madonna’s growth as a singer. It gave her a chance to do some quality emoting, her voice surprisingly powerful, with a charming and winning ability to inject some winsome poignancy to the song.

And because Madonna is as much a visual artist as she is a musician, the video for “Live to Tell” matched the song’s intense moodiness with a gorgeous and stylish clip that explored Madonna’s then-affection for old Hollywood glamour. Instead of romping around in revealing clothing and ratted hair, she’s presented in dramatic chiaroscuro, her style heavily influenced by Marilyn Monroe with heavy but very tasteful makeup and elegant hair. She’s dressed in a demure floral dress. Directed by James Foley, the video includes clips from his film At Close Range (the song was featured on the Leonard-produced soundtrack), starring her then-husband Sean Penn. The video was popular on MTV, and it continued her symbiotic relationship with the cable channel.

The maturity and ambition of “Live to Tell” are evident on the other tracks, as well. The album’s second single and first track is an idiosyncratic tune about teenage pregnancy, which courted controversy due to its lyrical content. Madonna gives voice to the narrator, a scared young woman who is admitting to her father that she’s pregnant with her boyfriend’s baby. Because so much of Madonna’s fans were young girls (the Madonna wannabes who would show up at her shows in mini-Madonna drag), certain parent groups were concerned that their kids’ idol was glamorizing teenage pregnancy.

Some women’s rights and pro-choice groups were also wary about Madonna belting, “But I made up my mind / I’m keeping my baby!”. Weirdly – and probably for the only time in her career – some conservative groups and religious figures celebrated the song as an implicit condemnation of abortion. The song’s controversy spoke to the moral panic of the 1980s, and it was yet another time in her career when the media and pundits opined about Madonna’s career choices.

With “True Blue”, Madonna looked to other eras to inform her songwriting. With True Blue’s big hit “La Isla Bonita”, she looks to other cultures. One of the criticisms leveled against Madonna – fairly, by the way – is that she can be a cultural thief, stealing from subcultures and marginalized groups for her gain. Before cultural appropriation was a thing, Madonna was a master at that game. With “La Isla Bonita”, she indulged in a fascination with Latin rhythms and brought an internationalism to the record – something she would continue with her following albums, returning to Latin-pop as well as Europop, London club culture, French house, as well as her further exploration/exploitation of Black American pop music.

True Blue was released in the summer of 1986 and making it to number one on the Billboard charts, eventually selling over 25 million copies. Though she became a superstar due to the success of Like a Virgin, True Blue propelled Madonna into iconic status. It’s with True Blue that Madonna became the dominant face on the Mount Rushmore of 1980s pop (along with Michael Jackson, Prince, and Bruce Springsteen). Like anything that Madonna does well, it’s fun and highly enjoyable, yet also obviously a product of hard work, toil, and careful deliberation. The goal of a lot of art – especially pop art – is to make it all look easy, but with Madonna, part of the experience of consuming her work is appreciating the work behind the art.

True Blue is a towering achievement and it’s imposing – its composition, construction, and architecture apparent – like Erich Kettelhut’s intimidating set designs for Fritz Lang’s Metropolis. Like Metropolis’ sharp Deco look, there’s an armored sheen to True Blue. True Blue isn’t just fantastic pop music, it’s also an impressive feat of hard work”.

I am going to end with Classic Pop from last year. Not only is Madonna’s songwriting and singing stronger than on this album. She surrounded herself with an amazing team that helped develop her visions and create something new. I do think that True Blue is a classic that is slept on to an extent. An album that people should spend some more time with:

“Aside from Madonna, a lot of True Blue’s sound, production and songwriting was down to the team she surrounded herself with during its writing and recording.

And while later Madonna albums might well have hinged on whatever producer was in vogue at the time, this wasn’t the case with True Blue.

The target of the album was to ramp up the variety, depth and quality of the songs to attract a wider and perhaps more mature audience, and for that Madonna chose the tried and trusted duo of Pat Leonard and Stephen Bray.

Between them, they co-wrote and co-produced pretty much every track on the album alongside Madonna. And it was a first for her to be involved in both disciplines for every track on an album.

Patrick Leonard had been the musical director on Madonna’s The Virgin Tour, getting the job after working with The Jackson 5.

But he wasn’t keen on the role to start with: “Going out on a stage and playing Like A Virgin wasn’t my idea of a thrill. And it still isn’t,” he told Sound On Sound in 1991. But the tour had its benefits, one of which was that Leonard and Madonna had started writing together.

Bray and Leonard had the chops, then, certainly what you might call safe pairs of hands, and it was understandable that Madonna would trust them to both co-produce and co-write the majority of True Blue. But that’s not to say the album is particularly safe.

It certainly ramps up the sophistication to appeal to a bigger audience, but also features wider instrumentation and a more varied feel, from the first single Live To Tell (which Leonard said terrified the record company due to its length and ‘weirdness’) to the Spanish themed La Isla Bonita.

The album recording started in December 1985 with the track Open Your Heart, and finished a mere five months later, testament to how smoothly the process went, and a reflection of the brevity of the songwriting process which mostly took place before the album was recorded, and one which Leonard detailed to Music Business Worldwide.

“I would put something together,” he explained, “usually just on piano, and then she [Madonna] would come in at about 11, we’d mess around with whatever needed to be messed around with, she’d write a lyric, she’d sing it, and the next day we would do another song, one a day.”

Bray and Leonard would switch production duties during the album’s recording and each producer had their own level of input with Bray telling MLVC: The Madonna Podcast that his role was “to shape things and maybe create arrangements and to show off the song better which I think is the important job of collaborators”.

Meanwhile Leonard would get more involved with the instrumentation on certain tracks, sequencing the bass for Open Your Heart, for example.

However, the two producers both get equal credit for Where’s The Party, a track which was written during the recording process, such was the creativity in the studio at the time.

“I think at that point we were all having fun,” Leonard told USA Today. “There’s a chemical thing that contributes to that ‘thing’ and why those records are what they are.

“They were relatively spontaneous for the most part. As legend has it, most of those vocals are the only time Madonna sang [the songs in the studio] and I can attest to that. It helped that neither she nor I are second guessers. Period.”

The first of five singles, Live To Tell was released three months before the album, a track chosen by Madonna as the debut, but against the record company’s wishes.

Leonard told Top 2000 a gogo: “Believe me that was one scared record company!’ She said, ‘It’s the first single’ and they said, ‘It’s over, you’re doomed, you’re putting out a seven-minute single that stops three times.

As is so often the case, though, Madonna was proven correct and Live To Tell provided a perfect precursor for second single Papa Don’t Preach, a song, of course, not without controversy.

“They’re going to say I am advising every young girl to go out and get pregnant,” Madonna again correctly predicted. This controversy didn’t stop its sales – if anything, it helped – and it would prove to be the ideal launchpad for True Blue’s stratospheric launch.

The album was released in June 1986 and certainly achieved its goal of getting a wider and older audience. Rolling Stone magazine said, “Madonna’s sturdy, dependable, lovable new album remains faithful to her past while shamelessly rising above it.”

But then they also said, “True Blue may generate fewer sales and less attention than Like A Virgin, but it sets her up as an artist for the long run.” And while they were certainly right on the second point, the first turned out to be somewhat wide of the mark.

We could, of course, fill the rest of this feature with stats on how well True Blue would go on to do: estimated sales of anywhere between 19 and 25 million and No.1 in 28 countries. Or the world records broken: Madonna’s biggest-selling album and the biggest by a female artist of the 80s (and most likely beyond).

But the simple fact is: if you didn’t know Madonna on 29 June 1986, you certainly would have by the time fifth single La Isla Bonita was released in February the following year.

True Blue launched Madonna to global superstardom, yes, but its impact on music and culture helped keep her at the top of her game for the next three decades, and it might well be the record she is remembered for for many more decades to come”.

On 30th June, we mark forty years of True Blue. I do not know if there will be anything special in regards an expanded vinyl or new issue of the album. Undoubtably one of Madonna’s most important albums, if you have not heard this before, then you really need to listen to True Blue. It is a sensational album that boasts some of Madonna’s greatest tracks. After forty years and True Blue still…

SOUNDS gold.

FEATURE: Spotlight: SIGGY

FEATURE:

 

Spotlight

PHOTO CREDIT: Belibi Nkollo Serrokh

SIGGY

__________

THIS awesome D.J. is…

someone I have been following for years now, but I feel she deserves a lot more spotlight. An amazing woman who is one of the most talented D.J.s in the U.K., Sigourney Standley is SIGGY. I have always known her as Siggy Smalls, and she has given an interview under that moniker, though I hope she will not mind me referring to her SIGGY – as that is what is on her Instagram page. Incredibly cool and passionate about her work, I want to get to a 2025 interview with her. I do feel that more people need to speak with SIGGY, as I have known about the brilliance of her work for years now. I do feel that D.J.s do not get the same sort of press inches and discussion as artists. I am dropping in some examples of her work. Although it might not be the most up-to-date information, here is some background to the remarkable SIGGY: “Siggy’s music is usually considered to be more disco house she is is able to adapt her style for any event without losing her signature sound. Starting her career interviewing artists at Sony HQ she quickly moved into hosting her own weekly show on MEATtransMISSION, playing the best in Disco/ Nu disco and vocal house with monthly guest DJs and producers. The show gained more and more attention, providing her with the perfect platform and opportunity to launch her DJ career in venues and festivals”. I have featured recently another D.J. London queen, Carly Wilford, who is releasing her own music. I do wonder whether SIGGY is going to bring out some music, as she is a hypnotic and utterly wonderful D.J. who is rightly being hailed and saluted. In all the years I have known about her brilliance, I am yet to see a set of hers. I am going to rectify that, as SIGGY is an immense talent. I am thinking about the rest of this year and what is coming from her. We do not realise the variety of female D.J.s. In terms of the genres they blend. I am a big fan of D.J.s who play Dance, Disco and House. SIGGY has evolved and incorporated different elements into her sets, though she is renowned for House and Disco. Earlier this year, she has warmed up for legends like Jayda G and Horsemeat Disco.

PHOTO CREDIT: Massimiliano Giorgeschi

Although not an interview, I was intrigued by SIGGY’s appearance in the Noctus. Published early last year, this was The Last Date – A Valentine’s Story: “Inspired by ‘The Last Supper,’ we gather around a dark, atmospheric table where distinctive characters embody various facets of love. Ranging from the purest desires to the deadliest passions, they unite around Cupid, creating a delicate balance. Together, they represent the entire spectrum of what love can be”. SIGGY was part of a fantastic cast: Dead Love: Chiino, Sad Love: Jakub Franasowicz, Self Love: Siggy Smalls, Cupid: Busola Peters, Lover 1: India Bailey, Lover 2: Frankie Mason, Money Lover: Jenna Anne Nathan. One thing about SIGGY, apart from her power, passion and talent is that she has this iconic quality to her. In terms of the photoshoots and her fashion sense. She is someone so incredible striking who can adopt a number of looks and distinctly be her. Someone who is so engaging in front of the camera, it also makes me hope that she does put out music videos. I also feel she would be such an engaging and remarkable actor, though this is me projecting or trying to manifest something that SIGGY has possibly never considered. Though, looking at that Noctus shoot, and those images of her stay in the mind! This multi-talented and multifaceted queen who I am such a fan of, I do want to drop in parts of her 2025 interview with Decoded Magazine. Labelled her as ‘London’s Disco Diva’, this is a truly phenomenal D.J. who you really need to check out:

“London-based Siggy has carved out her own unique space in the capital’s ever-evolving house and disco landscape, bringing an infectious energy that’s taken her from intimate radio booths to the world’s biggest festival stages. What began nearly a decade ago as a weekly radio show on MEATtransMISSION has blossomed into something far more profound, seeing her navigate the challenging terrain of original disco mixing and develop a signature sound that seamlessly blends classic disco soul with contemporary vocal house.

From her early days interviewing artists at Sony HQ to becoming a two-time Glastonbury performer, Siggy has consistently pushed boundaries across continents. Her passport tells the story of a true musical nomad, with standout performances at Hideout Festival in Croatia, Secret Garden Party, the legendary Pikes in Ibiza, and most remarkably, the playa at Burning Man, an experience she describes as utterly indescribable and life changing. Closer to home, her residencies at venues like Egg London and La Discothèque, plus her role with the acclaimed Disco Disco parties, have established her as a vital voice in London’s disco revival, sharing stages with world-class performers at iconic venues including Room 1 in Fabric.

Now, as she prepares to take the decks for Decoded Magazine – Friday 26th September at SushiSamba London alongside Clive Henry and Ben Cain, we caught up with the woman who’s helping define disco’s modern renaissance. From hidden crate gems to her transformative festival experiences, from London’s underground pulse to her ventures into original production, Siggy Smalls is ready to share the stories behind the groove.

You’ve been deeply embedded in London’s house and disco scene for nearly a decade, from your early days at MEATtransMISSION to your residencies at venues like Egg London and Disco Disco parties. How would you describe the evolution of London’s house music scene during this time? What shifts have you witnessed in both the music and the community, and where do you see it heading in 2025?

I’ve found over the last ten years, London’s house music scene has really changed big time. In the beginning it was all about creating a lively underground vibe. As time has gone on house music has got a lot more attention and gone down the mainstream road, which is great but also the unground scene still needs its own identity from today’s ‘House Music’ scene…

As time has gone on the bigger clubs in London began to feature different subgenres and international acts, this made the sound a bit slicker and polished it sometimes felt too commercial for those who loved the underground scene. But…it has opened doors for new artists and fresh styles, adding more to the music scene. Everything is changing always but these days it’s happening much faster!

A lot of smaller events in today’s  scene are focusing on roots and creating friendly spaces, which really helped build the community back together post Covid. The younger generation are growing and I see a push for diversity and representation, which is super important as the scene keeps evolving, but also keeping what it was all about from the very beginning, diversity and inclusion for all.

Looking at 2025, I think the scene will continue to change drastically, technology is changing fast and how music is being created and played, which could lead to exciting new fresh sounds. I expect we’ll see a mix of old and new, with fresh artists taking inspiration from classic house while pushing boundaries. The sense of community will still be key, as people search for real connections and shared experiences in a digital world with a focus on sustainability and inclusivity. I just hope they can start to put their phones down and have a proper dance together!!

Your residency at La Discothèque has become quite the talking point in the UK’s underground scene. What initially drew you to that venue and its aesthetic? How has having a regular residency shaped your development as a DJ, and what’s the energy like when you have that familiarity with both the space and the crowd?

I was drawn to La Discothèque because of its loud and proud aesthetics, Kat who runs La Discotheque is the first female promoter I’ve ever worked with within my 10 years of being in the industry. I love what she represents for her brand and pushes boundaries with her dancers. She’s big on supporting the LGBTQIA+ community and I love that!

Having a regular residency there has been a big deal for my growth as a DJ. It lets me try out new things and really connect with the crowd over time. I get to see what works and what doesn’t, which helps me improve my sets, I’ve met some amazing legendary DJS playing with La discotheque, such as Jamie 326, DJ Paulette, Kenny Dope and more! It’s also given me the opportunities to play at some amazing locations and venues such as Kala festival, Pikes Ibiza, Drumsheds, Printworks, Glastonbury!

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There’s been a massive resurgence of disco over the past few years, with everyone from Purple Disco Machine to Barry Can’t Swim and newer artists bringing fresh ears to the genre. From your perspective as someone who’s been championing disco since your radio days, what do you think is driving this renaissance? How do you feel about seeing disco pull in a completely new generation of listeners?

The resurgence of disco over the past few years is really exciting to see! I think a big part of it comes from people craving that feel-good energy and those uplifting vibes, especially after everything we’ve been through. Artists like Purple Disco Machine and Barry Can’t Swim are doing an amazing job of blending classic disco sounds with modern production, making it accessible and fresh for new listeners.

As someone who has championed disco since my radio days, I love seeing this genre pull in a new generation. It’s great to watch younger audiences discover the joy and groove of disco, reshaping it in their own way. There’s something timeless about disco music that resonates across generations, and it’s awesome to see how new artists are putting their spin on it while still honoring the roots, it’s great to see Artists such as Kirollus and Minna playing authentic disco music on vinyl and seeing a young crowd absolutely loving it.

This revival also highlights how music can bring people together. Disco has always been about joy, celebration, and community, and seeing it capture the hearts of new listeners is a reminder of that magic. It’s a great time for disco, and I’m excited to see how it continues to evolve!

You mentioned working in the studio and finding your sound as a producer. How has transitioning from radio host to DJ to now producer changed your relationship with music creation? What can we expect from Siggy Smalls in the studio, and how do you see your sound evolving as you continue to bridge that gap between classic disco soul and contemporary production techniques?

Transitioning from radio host to DJ and now to producer has definitely deepened my relationship with music creation. As a radio host, I focused on curating and sharing music, developing a keen ear for what resonates with listeners. DJing allowed me to connect directly with the audience, understanding how tracks can create energy and emotion in real-time. Now, as a producer, I’m digging into the intricacies of sound design and arrangement, which gives me a more hands-on role in the creative process.

In the studio, expect a blend of classic disco soul vibes infused with modern production techniques. I’m experimenting with layering live instruments and samples, all while incorporating electronic elements that keep the sound fresh and relevant. My goal is to create music that honors the past while pushing boundaries, making it accessible to both old-school fans and new listeners. I see my sound becoming more nuanced, exploring deeper grooves and collaborations that challenge me musically. I want to create quality music that resonates across generations. That’s the dream anyway!”.

I have waited until now to spotlight SIGGY, as I could not find interviews with her. I wanted to get that insight and words from her. However, I do hope that there are gigs announced and we hear more from SIGGY this year. Another reason why I love her is that she recently shared a photo or her rocking some Betty Boo-inspired fashion. Influenced by the video/art for Betty Boo’s single, Where Are You Baby? This is my favourite Betty Boo song and one I heard when I was a child. Maybe a SIGGY/Boo collab soon?! This world-straddling and hugely accomplished D.J. and producer is someone that you need to connect with. Even though she has played sets and stages around the world, I can see in SIGGY’s future…

SIGGY · Siggy Smalls x Decoded Magazine Mix

SO much success.

___________

Follow SIGGY

Instagram:

https://www.instagram.com/siggy_siggy_siggy/

Facebook:

https://www.facebook.com/siggysmalls89/

Soundcloud:

https://soundcloud.com/siggy_smalls

MixCloud:

https://www.mixcloud.com/siggysmalls/

FEATURE: An Assassin’s Smile: Kate Bush and the Women Who Interview Her

FEATURE:

 

 

An Assassin’s Smile

IN THIS PHOTO: Kate Bush in 1993/PHOTO CREDIT: John Stoddardt

Kate Bush and the Women Who Interview Her

__________

THIS is not a negative thing…

or any slight against Kate Bush. However, I wanted to look at how, through her career, Bush was mostly interviewed by men. I was re-reading Graeme Thomson’s Under the Ivy: The Life and Music of Kate Bush and there is an interesting section on page 291 I wanted to expand on. Talking about Kate Bush in 1993 and what was happening then. This was a year when Bush was pretty much stepping away from music. The Red Shoes came out in November and she also released the short film, The Line, the Cross and the Curve. Her mother died the year before and she had broken up with Del Palmer (who she was in a relationship with since the 1970s). She experienced personal loss and exhaustion through recording an album and shooting a short film. I am surprised that Bush had any energy left in the tank. In terms of promotion, it wouldn’t have been the most exciting or happy time. Bush had to speak about her work, though there was this challenge of having to be professional and provide some energy and engagement. However, as Graeme Thomson notes, there was this combative interview between Kate Bush and Chrissie Iley. Writing for the Sunday Times, this celebrity interview sat down with Kate Bush. Thinking that Bush had an “assassin’s smile”, there was this frustration with Bush, as she gave polite chat but there was an undercurrent of hostility. Even the simplest questions, like when Bush was asked what kind of doctor her father was, was met with refusal and this slight passive-aggressiveness. Maybe you can understand why Illey was annoyed. Thomson notes how an early interviewer likened Bush to Lady Macbeth. How men were too busy rhapsodising and getting distracted by her beauty could not see something steelier and cold lurking beneath that exterior. I don’t think that it is fair on Kate Bush to call her cold towards women. However, maybe there was this dynamic shift. Bush maybe finding it easier to get along with men or it being unusual for her to be interviewed by women.

That has changed in more recent years, though Bush was mostly interviewed by men. After the interview with Christine Illey, Bush felt that something akin to a hatchet job had been perpetrated. This hatchet job occurred later. Articles that were about Bush’s son and lifestyle. Bush responded with a press statement, saying how she was very happy with her new son, Bertie, and give him as normal and safe environment and life as possible. Maybe her not talking about her son and keeping quiet was to protect him. You can appreciate that. I don’t think it is the case that all Bush’s earlier interview encounters with women were frosty or awkward. I am going to highlight one with actor Laura Dern that is especially charming. Maybe that feeling that female journalists had an agenda or there would be this agenda. Bush did not work and collaborate with many women through her career. She may have felt like that would take away from her talent or like she was in competition. I am making it sound like she was unwelcoming to women. However, I feel like Bush bonded with men better, as she has two brothers and she grew up listening mostly to male artists. However, it was clear that there were select interviews with women that did not go well. This infamous Night Flight 1985 interview was a car crash from the start. The U.S. show was probably not used to artists like Kate Bush. In the case of Sue Simmons, she was probably given some brief notes and had never heard of Kate Bush. The Kate Bush Encyclopedia has more detail:

“In November 1985, Kate Bush was interviewed for the programme Night Flight during a promotional trip to the USA. While the segment in the actual broadcast has become hard to find, the uncut, unedited version of the interview has become a classic among Kate Bush fans for the inane questions by the uninformed interviewer. After the interview, Kate is further exploited by the studio crew, who pressure her into delivering a series of advertising ‘spots’ for a number of television programmes”.

One of the best moments is seeing the expression on Kate Bush’s face. Rather than an ‘assassin’s smile’, it was a cross between someone about to snap and this smirk! Not that this was gender specific: that U.S. trip in late-1985 where she was promoting Hounds of Love was quite ill-fated. More than one interview that went off the rails. Simmons’s questions were quite inane and she even labelled Bush’s 1982 album, The Dreaming, as ‘Dreaming’. I can understand why Bush might have felt a bit standoffish or reluctant to speak with female journalists and broadcasters if this was the sort of thing she had to endure!

However, it would be unfair to say that male journalists were too busy lost in their own minds and easier to control and women were seen as rivals or Bush needed to control them. That would paint her as someone who was professional at all, which couldn’t be further from the case. However, there are some wonderful examples of Bush bonding with female journalists and interviewers. In 1994, actor Laura Dern spoke with Kate Bush. I guess it did happen years ago where you got a celebrity outside of music chatting with an artist. It happens now, but on sites like Interview Magazine. It would be amazing to see YouTube shows where actors and people from other areas interviewed musicians. There is this respect and easy bond between Bush and Dern, as you can tell from the answers Bush provides:

“What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you? Well, for better or worse, I just had my opportunity.

I wanted to ask Kate Bush every obvious fan question in the book. I wanted to let her know how much her work means to me. I wanted to ask the right questions.

I have no conscious memory of our conversation, because I went into some altered state of panic. Luckily, I realized that my duty of being Lois Lane, reporter extraordinaire, would get in my way. So I just tried to chat with Kate.

With the release of her new album, The Red Shoes, Kate was in the U.S. for her first visit since 1989. She and I have both recently completed our directorial debuts on short films -- hers, a 50-minute feature, The Line, The Curve and The Cross, which links six of the new songs through a fairy tale.

How fantastic it was to speak with her! It was so unusual to hear that magical voice that I've heard singing into my inner ear (through headphones) since 1985. I remember first encountering Kate's music while filming Blue Velvet. I listened to Hounds of Love, and instantly felt I had found what I always longed for music to be: a discovery of self, a journey full of imagery and passion; and now this voice, this creator and I were having a conversation.

SPIN: Tell me about your new short film, The Line, The Curve and The Cross. I understand that Michael Powell, the director of the old classic movie The Red Shoes, is a hero of yours. Is your film adapted from his?

Kate Bush: It was something I thought of when we finished the album: to make a short film that would include some of the songs from the record but also tell a story. The only stuff I've worked on before has been short videos.

Spin: You've directed almost all of yours for years now.

KB: But I've never done anything like this before, and it was just such an education for me. I think the most demanding thing was being in it as well as directing, and I don't think I'd do that again. I found it very difficult --just having the sheer stamina. But what a wonderful experience, and it's so different from making an album because you've got this big group of people all working together on something that has to be done quickly and the albums are almost completely opposite to that.

Spin: I've read in interviews where you talk about how exciting it's been for you in the process of mixing, and I thought to myself, "Oh my God, as a director what an exciting new world that must be for you, with all that you can do with the visual side." Were you like a kid in a candy store?

KB: To a certain extent, but we were very restricted by having no money and so little time. But some of it was so new to me -- like working with dialogue, which I found fascinating. I really enjoyed it. The film is meant to be like a modern fairy tale. We worked on it so intensely and it's not been finished for very long, so it's really difficult for me to know what people will think of it and whether they'll get a sense of story from it.

Spin: The thing I remember when I was a teenager and saw The Red Shoes was the struggle of this woman's: having to choose between being a dancer and being with her man. That the passion for love and the passion for dance couldn't coexist really affected me. I don't know what you think about that. I hope to believe -- well, I hope to believe a lot of things -- but I hope to believe that we can be consummate artists as women or revolutionaries, or whatever women want to be, and also have love, not only for ourselves but from a partner.

KB: I have to believe that too. It's just not fair to think that it's not possible. But I suppose the consuming nature of being obsessed with one's work, or one's art, is obviously something that we probably all struggle with to try to find a balance.

Spin: In interviews, people always refer to you as this great perfectionist. Do you agree with that? Do you perceive yourself that way?

KB: Well, if perfectionist means taking a long time, then I would agree with it. But I really don't think that it's possible to make things perfect, really. In some ways, there's almost an attempt to try to achieve something that is quite imperfect. Do you know what I mean? And to be able to find a way of leaving it with certain raw edges, so that the heart doesn't go out of it. I don't think of myself as a perfectionist at all.

Spin: Critics, especially men, seem to describe women who are brilliant at what they do as perfectionists or loners or difficult to get at. I always find that so hilarious because I think someone who is connected to their work must be easier to reach than others.

KB: I think so too, it's just that maybe they're going to be a little more weary.

Spin: Do you struggle to balance your desire to keep a raw, spiritual edge to your music and a need to make the music accessible? Do you feel confident enough to just express what you believe and hope the audience catches up?

KB: There's kind of a driving force involved in the whole process of putting music together, to ultimately ending up with a finished album. I think there's a lot of stuff that I don't even question until other people come in and listen to the music, and it's almost like suddenly you're listening to things through other people's ears. I suppose that's when it gets a bit difficult. Sometimes I'm aware that things were actually a little more personal than I'd realized. But I suppose I feel if, when you are actually creating something, it feels kind of honest, it feels good, then that's the point where the intenion matters, and then from that point onwards it's just a matter of being brave enough to actually let it go.

Spin: That's why I've always loved film more than theater, and film may be more closely related to making a record because you have that ability to go in and do your work and have no judgment around it, and feel honest. Then, much later, it's presented to people. But in theater, people come backstage after a performance and you're about to do the same play again the next night, and people say, "Well, I didn't really believe that emotion" or whatever. It's really hard for me, I like to be closed up and just do the work.

KB: That's a very interesting observation, I'd not actually thought of it like that, but you're quite right. Films are kept very personal for quite a long time.

Spin: I've always been so curious to know if there are certain of your own songs or albums that you feel most proud of, or most connected to?

KB: I suppose, like most people, I tend to feel closest to the work I've most recently done. In a lot of ways, it's like extracts from a diary: If you look back at things in your past and consider events, it's like, "Oh God, no." You tend to feel differently about things as you move through two or three years. And I suppose also, hopefully, you like to think that you are getting better at what you do, more mature in your craft. Quite soon after that, there comes a point where you just want to do something completely different from the most recent piece of work in order to shake it off.

Spin: Have you ever gone back and either thought about songs you've written, or listened to your music from years before, and learned something you hadn't recognized, or understood something that at the time you didn't understand?

KB: I'm not sure I've ever reinterpreted something, but I have definitely been able to hear things in a different way from how I did at the time. I very rarely listen to any of my old music; it's the last thing I ever want to do. But occasionally I end up in a situation where I do, and if enough time has gone by, I can actually hear how I would do things differently.

Spin: But if art is a contribution, and I certainly know that your music has been, the one thing that I'm excited about as a listener is that you've been at different places in your life and have written pieces of music where you may now think, "if I had only done it that way," but somehow the place you were at allowed you to write it that way and it affected people who were in the same place.

KB: There was a reason for it happening then.

Spin: I've always wanted to ask you if you have interests in the shadow side, in understanding the repressed self -- things we are in denial about.

KB: Creative art is an awfully positive way of channeling the shadow side, and I think it's much more healthy to explore it and have fun with it within the boundaries of art. I'm not sure that it's something terribly good to go looking for. Do you know what I mean? I think it's actually something that ends up coming to you anyway”.

It is when someone asking the questions is a fan and you can tell they know about Bush’s music is when she is more relaxed. Is it a control thing? Maybe years ago, though you can tell Dern is a massive fan and they had this meant that you get these insights and interesting replies from Bush, rather than something that is tense and formulaic. Look at more recent years and how Bush has spoken with women more. Lauren Laverne (BBC Radio 6 Music, BBC Radio 4) interviewed Kate Bush for 50 Words for Snow in 2011, and it was a really great chat. Kate Bush completely charming and loving speaking with Laverne! There is also the two very recent examples of Emma Barnett speaking with Bush. In 2022, when Running Up That Hill (A Deal with God) was used in Stranger Things and it was a chart success. That was for Woman’s Hour. I have dropped this interviewed in a lot in the past, though I feel it is necessary again, so that you can hear their rapport and that respect. Interesting Bush wanted to speak with Woman’s Hour at that time. Barnett interviewed Bush at the end of 2024, around the time Little Shrew (Snowflake) was released. That was a single aimed at raising funds for War Child. Bush directed the video and requested to speak with Emma Barnett. I hope the two chat again very soon. Going back to what Graeme Thomson noted in his book. That Christine Iley interview, where one can attribute blame to both sides. Maybe Bush was a little tense or reluctant that day and it came across as icy or calculating. Iley very much doing a hatchet job and sort of trying to settle a score or make Kate Bush look bad. It would be unfair to say that Kate Bush did not like being interviewed by women, though it is evident that it was unusual for that to happen to a point, and perhaps she preferred the dynamic of speaking with male journalists more. That did shift later in her career. If one would argue Kate Bush preferred speaking with male journalists more, or it was perhaps a different experience that meant that she could relax more, articles such as this argue how it is her female fans that understand her more – and male fans just don’t ‘get her’. Barbara Ellen, writing for The Guardian in 2024 – right after that interview with Emma Barnett for the Today programme -, caused backlash and criticism when she write this:

“What is it about Bush and her fans, and her female fans in particular? One radio interview and we’re transported into Kate-mode, which, for me, means going about my normal day (walking the dog; prodding at the supermarket self-checkout screen), booming her music on headphones, feeling thrilling, otherworldly, impetuous. Other female musicians can be exciting: Beyoncé dropping country music albums (yes!); Taylor Swift conquering the known pop universe (why not?). Bush, however, only has to murmur about “new ideas” and some of us feel all the molecules in our bodies rearranging themselves.

Do men understand the effect Bush has on so many women: how “other” she makes us feel? I’m sometimes surprised myself by my Kate-worship. It’s as if she’s snuck through the net as British pop culture’s only forgivable prog-hippy. And yet love her unreservedly I do. Obviously, it’s a lot to do with the music. Bush isn’t just another musician, she’s an entire genre. And, with perma-reclusive Bush truly the JD Salinger of music (just as the last album was in 2011, the most recent live shows were in 2014), everything she touches has rarity value.

But it’s also because she’s our Kate: the cultural trigger for the secret part of every outwardly sensible woman who wants to jack everything in (yes, all of it) and devote her life to floaty dancing in leotards and diaphanous skirts. Or fancies slipping into a hot Victorian nightie and running barefoot across a windswept moor towards a Heathcliff-esque lover, however brooding and dodgy he might be”.

There is perhaps more to be written, and I guess it might have been true of any major female artist of that time. What is being written about them and how they come across can affect their career and reputation. Words can be manipulated and, when two men or two women talk, it can be a different set of agendas or dynamics compared to those of the opposite sex in conversation. Bush’s male-heavy upbringing probably did affect the way she was with male interviewers. As a woman trying to make her own career and do it on her own terms, the experience of being faced with a female interviewer might have put the hackles up, or Bush felt like she had to compose herself in a different manner. That 1993 interview with Christine Iley seemed a trial. Also, in 1985, when speaking with Sue Simmons in the U.S., that was another blow. Though more recent examples sees Bush seek out women like Emma Barnett. So that idea that Bush was this assassin luring women in only to strike or not answer their questions seems unfair and not representative or who she is. As we all know, the great Kate Bush is…

ONE of the sweetest and nicest humans.

FEATURE Kate Bush: The Whole Story: Spotlighting a Very Special Fan Interaction

FEATURE:

 

 

Kate Bush: The Whole Story

IN THIS PHOTO: Kate Bush in 1979/PHOTO CREDIT: Gered Mankowitz

Spotlighting a Very Special Fan Interaction

__________

LOOKING at a post that appeared…

on social media relating to a time Kate Bush went the extra mile with a fan makes me want to revisit her connection with those who love her music. I wrote about this recently, but I wanted to focus on this one particular interaction. I think there were times early in her career, in 1978, when fans would ask for a photo and she would send one that might be considered risqué. Not a deliberate thing, it was just the promotional photos that were being taken. It does not really happen today, as social media makes it impossible. Major artists especially have huge followings and they cannot realistically respond to all comments and requests. I can only imagine how busy the DMs are for artists on Instagram. Many have teams that handle that and people who can filter out things. It must also be a minefield, as they get so many nasty comments too. I do not envy the life of an artist now. Kate Bush herself is not on social media, and she would not get anything else done if all she did was respond to comments and messages. However, she was a woman in demand back in 1978. After the release of Wuthering Heights in January 1978 and the international success that accrued, there was of course a lot of fascination and appreciation. People who had never heard of her listening to this song and being struck. I feel she would have received a lot of letters on w weekly basis. Not able to respond to every one, she did send quite a few replies to fans. Appearing at the odd fan club meeting and convention. Someone who wanted to show her appreciate to those who support her. However, there is something about a response to a fan who loved Wuthering Heights but did not know what the lyrics were.

Of course, this is pre-Internet and a time when the only way you could learn about lyrics and what they were was having a good ear! It must have been quite frustrating getting this sort of information. Perhaps thinking it was a long shot, what strikes me about this Twitter post is how other people responded saying Kate Bush replied to them. I am not sure whether we could go back to the days when people write to artists and there is a fan club. How practical would it be?! However, a fan wrote a lovely letter that presumingly went along the lines of saying they were a fan of loved Wuthering Heights and please could I have the lyrics? Delightful and a bonus for a teenage fan, though in retrospect she might have gone with something else! I any case, this must have touched her, as someone was genuinely invested in the words and wanted to know what they were. A lot of the press in 1978 ridiculed Kate Bush or felt her weird and a short-term artists. Fans were different. They were the ones who were truly dedicated and understood her. Bush would have got a load of letters like this, and she took the time out to reply to the fan. The fan was named David. It is a crying shame that David auctioned off his letter. No huge or true fan would let go of anything this precious! Auctioned it in 2014, when Kate Bush’s Before the Dawn residency began, it does seem opportunistic and foolhardy. However, maybe he had no sentimental tie or love of that letter all those years later. Far Out Magazine wrote in 2020 how David spoke about his experience and writing to Kate Bush:

“Speaking to Huffington Post when putting the letter up for auction in 2014, David wrote: “In 1978 I was 14 years old when Kate Bush released ‘Wuthering Heights’. At the time, the song was the most extraordinary thing I had ever heard and I was utterly mesmerised by her performance when she appeared on Top of the Pops”

“I was in love with the song so I wrote to EMI Records for the lyrics,” he continued. “Much to my amazement a few weeks later I received a reply from the lady herself. She had not only hand written all the lyrics for me, but also included a letter and a signed photograph of herself – an image that, at the time, was this teenage boy’s dream and made me the envy of all my friends!”.

 If someone else does have it, then they must appreciate the magnitude and significance. What Bush says in her reply. How she was “thrilled” to get that letter and how it is no trouble to provide the lyrics – and, sweetly, she writes how it certainly won’t cost him anything (David cutely asking if he would need to pay!). David, in his letter, wrote that he read Wuthering Heights. Kate Bush didn’t when she was first inspired to write the song, so maybe he was affected by someone writing a song about a book particular to him. I would have loved to have seen David’s original letter, as you have to piece together what he wrote. Bush wished him luck in everything he does and said ‘God Bless’ and included three kisses. A very special and warm letter. This young artist, who was already under the wheels of endless media attention and interviews, making sure that this loyal young fan got to see the words to this unique chart-topping single. It raises the question as to whether you can write to artists now. I would love to write to Kate Bush, though it is almost impossible to send it to her management and get it read by her. I can appreciate how many people would do that, and it would not be something she’d like. However, for projects and requests about professional engagement, it does seem like this big hurdle you need to jump over to get to her! In a weird way, it was easier to connect with something in 1978 – before computers and the Internet – than it does in this technological age; where anyone can write a comment about an artist in mere seconds. The photo of the lyrics that Bush wrote is a little blurry, but you can make it out. Beautifully written, she divides it by verses and chorus. What is must notable about Kate Bush’s response letter is where she was sending it from. Not at Wickham Farm (her family home) or 44 Wickham Lane (where she moved to), this letter has the letterhead of the Hotel Interconnectional in Paris. And Kate Bush including a photo taken by Gerd Mankowitz where you can see her nipples! A bonus for a teenage fan, though you wonder if it was the wisest choice and whether Bush should have sent a different shot!

 I wonder if this is the InterContinental Paris Le Grand, which faces the Place de l'Opéra? Maybe she was on a break in Paris and the letter was forwarded. For The Tour of Life in 1979, Bush did perform at the Theatre Des Champs Elysees Paris on 6th May. I wonder if she was booked at the Hotel Intercontinental for that date and was reading through some fan mail. This would date the communication to about sixteen months since Wuthering Heights came out. It is plausible. The single reached number fourteen in France, though the album it is from, The Kick Inside, went to number three. She had this clear and big fanbase in France. Perhaps Kate Bush remembers writing that letter, though she must have had quite a few letters she responded to. People coming out and sharing memories of Kate Bush writing back to them. Lucky David in this case, though many others around the world did get a letter or signed photo from Kate Bush. She does sign things now, but I am curious when was the last time she wrote a letter to someone. A dizzying time for Kate Bush, a lot of 1978 and 1979 was exhausting for her. She could easily have sent a signed photo and slip to say she was busy but thanks for the letter. Instead, she sat down in her Paris hotel room and wrote out the lyrics to Wuthering Heights. Wherever that response was going – not sure if David was U.K.-based or not -, David would have been beaming when he opened that letter! No doubt framing it or keeping it somewhere special, it would be sad if he gave it away or auctioned it. One of my dreams, aside from interviewing Kate Bush, is to get a letter from her. I know she has sent emails to some fans but the days of her writing fans probably ended decades ago. Recalling that time in 1979 (?) when she answered David’s letter showed how amazing she is! That personal connection and relatability. Treasuring her fans and being so friendly, few artists took the time to reply to their fan mail like that. A big reason why Kate Bush is…

SO special.

FEATURE: Spotlight: Amma

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Su Müstecaplıoğlu

Amma

__________

ONE of the most talented…

PHOTO CREDIT: Loïc Rodrigues

families in music, Lauren Keen is known as Amma. Her sister is RAYE, real name Rachel Keen. Abby-Lynn is known as Absolutely. I have featured her before. I am shining a spotlight on Amma, as she released the E.P., Blame Game, last year. A tremendous artist that I am very excited about, there are some interviews to drop in. The first of a couple of interviews that I want to come to is from Numéro Netherlands from last year. For Amma, music was never the plan early on. She started quietly writing songs and eventually doors opened. She is one of the most promising young artists coming through:

“You've said becoming an artist wasn't the plan. What changed during that quiet songwriting moment that pulled you toward music?

Music has always been a part of my life. Even when I tried to escape from it, it pulled me back. At this point, I had been a writer for about three years. I was on a writing trip in LA and it was a tough trip for me as I was very in my head and feeling quite sad. I then went for a meeting with one of my publishers and the A&R label. We were going to have the meeting about artists in the label and what I could do for their projects. About 20 minutes into the meeting, we ending up talking about me as an artist. I kept deflecting the topic, which I personally think I’m really good at doing, and after a while, I allowed the conversation to open up. As I was in the car driving back home, I felt the best I had on the whole trip. I started asking myself why I thought that was and slowly started laughing out loud because I was starting to accept the fact that it had planted a seed of fire in my stomach for something I may have been pushing away.

My next thought was “Ok, if I am going to do this, what am I doing it for?” Which became the title of a song I wrote about me becoming an artist. This song allowed me to release a lot of thoughts and emotions that had been going through my head and was unable to decipher. This led me to drop my pride and lean into the idea of really putting my art out there”.

You come from such a musical family. How did growing up alongside RAYE and Absolutely shape your approach to creativity and self-expression?

Growing up in a family like mine is really a blessing. We have had so many fun music moments, but like any family, there are times we don’t get along and we argue and bicker. I am so grateful I was given my sisters. It’s been hard understanding and finding my identity in such a bold family. I constantly compare myself to them when creating and I feel that if I don’t compare myself, someone else in the room will. I guess it’s a self defense mechanism.

I’ve been to writing sessions for other artists and been told “Can you do it like Abby?” or “Put some RAYE into it.” A lot of the time I would just say OK with a cute smile on my face and ignore it, but there were and still are times when it gets to me. However, once I started creating songs for me, things really started to shift. I started to understand what I liked and what I didn’t. I stopped thinking what would my sisters do. It then felt easier to go and share music with my sisters, without being afraid of getting honest feedback. We usually share music with each other when we are in the car. Driving home to our parents for Christmas or going to our uncles and aunties houses. We will authentically and naturally take turns sharing our new music as we sometimes don’t get to hear what each other’s been up to for months at a time.

How has your songwriting evolved since you first started, and what's surprised you most about your own growth?

Wow, my song writing has changed dramatically. There used to be times I’d create a whole song, listen to it back as soon as I’ve finished and then delete the whole thing. I had a really high standard for myself and of the music I made. If my expectations weren’t met, it was really hard for me to want to get back in the studio and start again. This was a very repetitive cycle for me, until I eventually made a song that I didn’t hate. It was the first song I didn’t delete and wasn’t as embarrassed by. Fast forward to today, where I now really understand my writing process. I can feel when I need to create and can also feel when I’m forcing it too. What’s surprised me most about my growth from the first song to now is most likely my ability to really create something I am proud of. That was one of the hardest tasks for me to do when writing, and now I have created a fair amount of songs I love. Even now, I wrestle with saying that out loud.

You've said your music isn't to center yourself, but to connect with others. What's been the most meaningful reaction you've received to your work so far?

I think there are a lot of songs in my projects that have brought out different reactions in people, one of them being a reaction from my older sister RAYE. I am definitely more of a quality time and acts of service person when showing love. However, my sister is physical touch and words of affirmation, which I give her none of unless she is really sad. Not dramatically sad, but really sad. I wrote a song called ‘if not you, who?’ for her.

We were speaking the day before I wrote this song and I was worried about going in and not feeling inspired. There can be times where my sister doesn’t understand me at all and starts talking about experiences she’s had, which has nothing to do with what I’m saying, but on this day, she said all the right things and it really helped reassure me and my ability to create. I made this song and then showed it to her that night on Facetime, and like the emotional person she is, she started to cry and told me all the things she loved about the song, but more importantly, how it made her feel. To me, that’s the most important thing about my music right now. What it can do for someone else”.

Actually, a couple more interviews before I wrap things up. I want to get to Occhimag and their 2025 feature about Amma. A brief reflection and chat, this is someone who I think will grow to the same level as RAYE. In terms of releasing these stunning albums and commanding huge stages. It is only a matter of time before Amma is getting serious attention and focus:

“For London-based singer-songwriter Amma (Lauren Keen), music was always in the air—but never in her plans. Growing up surrounded by melody and rhythm, she initially resisted the path that seemed predestined. “It felt like the last thing I wanted to pursue,” Amma reflects. Yet, as life often proves, the things we push away sometimes hold the greatest pull. It was during a quiet, introspective moment—writing a song solely for herself—that Amma’s journey as an artist truly began. That song, born from solitude and sincerity, soon found its way into the wider world, catching the attention of industry insiders and propelling her into label meetings she never expected.

Amma’s artistry is rooted not in emulation, but in emotion. She isn’t driven by the industry’s biggest names; instead, she finds inspiration in artists who are unafraid to feel deeply and honestly. “No matter what I’ve felt, another human has felt it too,” Amma shares. “Although our stories differ, the emotions we experience are something we all share universally.” This empathetic approach shapes her songwriting, which continues to evolve through collaborative sessions, late-night bedroom musings, and harmonies with her sisters—fellow artists RAYE and Absolutely. While singing has always come naturally, finding her unique voice as an artist has required patience, bravery, and several leaps of faith”.

I will end with an interview from FLAUNT, where Amma, RAYE and Absolutely were together. Three sisters talking about their careers and lives. It was great to see them all photographed together and in conversation giving their own reflections. I want to focus on words from Amma:

“Amma, I was listening to your tape, Middle Child. On the opening track “What Am I Doing It For?” you’re very candid about finding your place, identity, self-confidence, self-belief, trust. How did you get to that place?

Amma: It was definitely a lot of ups and downs for me. I’m quite prideful, so I kind of, like—
RAYE: No, you’re not!

Amma: I am a little when it comes to music.

RAYE: You have a high standard for yourself.

Amma: Okay, yeah, my standard is quite high, so it was difficult writing music and not feeling like I was reaching the standard, especially when I would hear things that [RAYE] or Abby [Absolutely] had created, and being like, “Wow, this is really amazing,” and then hearing things I would create and be like, “Okay, we have so much work to do.”

One day I was just having a bad experience when I was in LA—because I was writing for other artists—and I went to a meeting meant to be for other artists in that label. Twenty minutes into the meeting, it was about me and my own artist project, and I was like, “That’s not happening!”

I left that meeting after allowing it to become a fake reality for a bit, and I thought, “Okay, well, maybe I should just dive into this and see where it can bring me.” I went home to my Airbnb that day, and got my setup on my bed, and it kind of just came out. I remember just recording the a cappella, “mmmm, aahhh” things and the lyrics just kind of came out, which I kind of find is the easiest way to write on my own.

By harmonizing and then figuring things out through that, on your own?

Amma: I really find it so easy writing through acoustic guitar. I’ll build up the production after, because that’s the way I get emotion, is through the chords feeling vulnerable too, you know?

Amma, I remember hearing you say recently that being a musician wasn’t your initial vocation. What would your vocation have been if not music?

Amma: If I could do anything other than music, I would 110% be a therapist. I mean, this kind of songwriting in itself, understanding people’s stories and being able to put it in a song so that there can even be healing from that. I feel like I do [my music] when I feel super upset, I’m like, “Oh, I think I’m meant to write, because I haven’t written in so long, and I’m just so emotional. I must write something.”

What do each of you think the role of an artist is in 2025?

RAYE: It’s a form of hope. When I think back to even, like, COVID times, everyone was really feeling it. That actually was a moment where I felt like, “Oh my gosh.” You really realize when the world’s going through this, how all of this stuff is so important.

Amma: A lot of people feel alone in a lot of emotions that they feel. But actually, there are only 27 distinct emotions, meaning everyone has felt something. Like, you’ve been sad? [I’ve] felt exactly the same. Our stories may be different, but we can feel the same emotion. So for me, I feel like putting my story across so that people can understand that the feeling that they’re feeling isn’t an isolating one, but can be shared.

Absolutely: I think about my music, from people that it’s a place where they can really be immersed, and be transported into a different world.

RAYE: That’s beautiful.

Amma: That’s nice”.

If you do not know about Amma, then make sure that you follow her. The E.P., Blame Game, is extraordinary! This is someone who is going to have a long future in the industry and release so much great music. She does come from this very much family. Currently on tour with RAYE supporting her on the THIS TOUR MAY CONTAIN NEW MUSIC, it is a busy ands exciting time for Amma. However, rather than compare her to RAYE and Absolutely, Amma is her own artist, though there is that sibling connection and shared talent. It is clear that Amma is someone that you…

NEED to follow.

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Follow Amma

 Instagram:

https://www.instagram.com/amma/

Spotify:

https://open.spotify.com/artist/6rYqTmpl2LNEovR30mauo2?si=QVKXRbNRTteVhEWnmLSJhw

YouTube:

https://www.youtube.com/channel/UCf7tb4eSgiTMOsa4yA4hbYw

FEATURE: So Hard (To Fall in Love): Can An Artist As Successful As Olivia Dean Be Seen as Underrated?

FEATURE:

 

 

So Hard (To Fall in Love)

Can An Artist As Successful As Olivia Dean Be Seen as Underrated?

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I was going to sort of leave it…

and not really comment on it, but there was this interview with journalist Alexis Petridis, where he spoke about Olivia Dean. He writes regularly for The Guardian and is one of the most prolific journalists in this country. It was interesting what he was saying. How Olivia Dean is this honest and extraordinary artist. Making Pop music that is not boring but is very engaging and popular. In spite of the fact that she has won major awards, including GRAMMYs and BRITs is it possible that we are sleeping on her music?! That she is flying under the radar. I realise I have written about her a fair bit recently, though it is important to discuss this incredible songwriter. How she has this ‘girl-next-door’ persona and is making this incredible music but it is sort of being overshadowed. Her latest album, The Art of Loving, is a chart success, in spirt of the fact that it was released last September. With as clutch of awards and more coming possibly, her rise has been somewhat talked about less than more of the visually-driven Pop artists like Chappell Roan and Sabrina Carpenter. That is what Alexis Petridis argued. Of course, one might say that it is impossible to be that much of a beloved artist and win awards and be seen as underrated or under-discussed. Sure, The Art of Loving got great reviews and a tonne of praise, and Olivia Dean has an adoring fanbase. Yet, there is not the same kind of discussion, exposure and hype that many of her Pop peers receive. Perhaps that is not the worst thing when we consider the downsides of that. Being in the public gaze and having that sort of focus on you. Yet, a songwriter this extraordinary and talented should be heralded more. Her music dissected and played more. I had not seen anyone really make a point like this before regarding Olivia Dean.

She is quite a private person, though I don’t feel like she is someone who would reject a lot of celebration and the same sort of spotlight that many of the bigger U.S. artists receive. I have seen articles from around 2023 when her debut album, Messy, came out. That was nominated for a Mercury Prize, and you sort of have to feel like The Art of Loving is going to be nominated. I am not sure about the eligibility rules. However, what Petridis said about Olivia Dean and her music not getting the attention it warrants. Her being overshadowed. It opens up an interesting question and debate. Look at articles written after her award success at the GRAMMYs and BRITs and many people say she has transitioned from being underrated and rising to a megastar. Chart success too. This is all commercial recognition. Do we value artists based on awards and chart positions only? Granted, one cannot say that Olivia Dean is under-awarded or going without industry recognition. However, this is a different thing. It might be a cultural thing. How major U.S. artists get amplified and there is a different way of treating artists. One can argue that Olivia Dean is a better and more complete and successful artist than someone like Sabrina Carpenter. I celebrated Carpenter recently and really love her music. However, Dean has been putting out music for quite a few years now and I don’t feel she has yet gained the sort of love and commentary that is earned. In terms of highlighting the brilliance of the music and talking about her deeply not only as one of the finest songwriters of her generation. Olivia Dean is also one of the most compelling and inspiring artists. The fact that she does not have the same sort of lifestyle and celebrated as some of her peers. This relatable and humble artist who is all about the work and does not get involved with the fame side of music.

You could say that this might be a reason why she is being slept on slightly. Looking at the reaction comments to that Alexis Petridis interview for The Guardian’s Today in Focus interview argues Olivia Dean has not been slept on and she is getting loads of attention. Others criticising that label of ‘girl-next-door’, which might be slightly sexist, belittling or old-fashioned. A term that should be dropped. She is simply honest, nice, big-hearted and warm. ‘Girl-next-door’ suggests something slightly insulting or reductive. I would disagree that Olivia Dean is completely underrated and has gone under the radar. What I would say is to make the distinction between someone who has won awards and chart success and artists who are discussed by journalists, their music written about and the artist being written about. It is that clash of the commercial side and the critical. Also, it is fair to say that Dean has not always been spoken about in the most respectful and positive tones. It is clear that she is a very special artist and someone who does not follow the mainstream Pop herd. True to herself and not compromising, The Telegraph wrote about Olivia Dean earlier in the year and highlighted what separates her from other artists:

“Unlike the current crop of reigning female pop superstars – Sabrina Carpenter, Chappell Roan, Olivia Rodrigo – Dean doesn’t alienate older listeners with risqué outfits or graphic songs about sex. She sings about love, yes, but in PG terms: it’s soft, gentle, and romantic (her breakthrough single Man I Need centred on the pithy chorus “Tell me you got something to give, I want it / I kinda like it when you call me wonderful”). There are no bad boys here, unless you’re choosing to believe the internet rumours from a few years ago that she was dating Harry Styles.

A music industry source, who worked on the campaign for Dean’s 2023 debut album Messy, adds that her success is the result of years of hard work. “Olivia has put the time in. She’s been doing non-stop gigs and festivals for years now and it’s finally paid off,” they tell me. “You couldn’t meet a nicer person either, she’s in it purely for the music.”

It was striking, too, how positively old-fashioned a pop star Dean seems compared to her fellow nominees for this year’s Best New Artist accolade: you had TikTok favourites Addison Rae and Sombr, the slickly manufactured “global girl group” Katseye and Christian crooner Alex Warren, whose dreadful 2025 chart-topper Ordinary almost made me swear off pop music for good.

Dean’s music and image, in comparison, owes more to the glory days of Motown than today’s pop charts. She makes uplifting, sugar-coated songs that still possess depth and soul, and her music offers a welcome respite to the trauma-dumping occurring in much of popular culture. Our world is growing ever more divided, toxic and brutal, and sometimes people want music that makes them feel good rather than reminding them of every one of life’s imminent tragedies”.

I think just some of the labels attributed to her and how she is perceived. Rather than explore why Olivia Dean is such an amazing artist and what makes her songwriting so distinct, there are these comparisons to other artists. It is a bad habit of mine too: instantly comparing female artists with one another. This idea of pitting them against each other, rather than respecting them on their own terms and recognising that artists who are more provocative or expressive in a sexual way are to be as commended and saluted as much as an artist like Olivia Dean. Not see the former as bad and immoral or wrong and the latter as innocent, old-fashioned or pure. My initial question of whether Olivia Dean is underrated or not might need rephrasing. Compared to a certain type of artist, is she regarded as highly? Whilst she has an army of fans, there is not quite that same sort of mania. I do think that there needs to be more column inches dedicated to her phenomenal lyrics and what she puts into her music. Also, how she conducts herself as an artist and remains so grounded and stable. Rather than wonder why she has not got massive headline festival slots and is being cast in films or what you’d expect from an artist of her calibre, perhaps not comparing her with other women! It is something I have been guilty of, and it does help the conversation. I respect all of these amazing women, but wondering why she is not a British Taylor Swift or Sabrina Carpenter is not constructive and is problematic. Instead, we must commend this artist who has released one of the best albums of the past decade with The Art of Loving. All it has achieved. How memorable her videos are and the aesthetic there. In interviews, how wonderfully and warmly Olivia Dean comes across. That she could decamp to L.A. or New York and record for months but prefers to be at home and do it in her own setting. That is refreshing and commendable. That the measure of success is not doing what you would expect a major artist to do. In that respect, we do not rate Olivia Dean as highly. Instead of comparing her to other women and creating a divide, the astonishing Olivia Dean needs to be celebrated…

IN her own right.