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2014 Resolution: Let’s Treat Women In Music With Respect

By Em Cassel

Critics everywhere seem to agree that women dominated music in 2013. The Boston Globe, Vice’s Noisey blog, NPR – all of these fine journalistic institutions published year-end review pieces that were like, “Damn, ladies, way to put those double-X chromosomes to WORK!” Not just in one genre, either – from the glitziest of pop to the crustiest of punk to the twangy-est country, women were the ones making moves in ’13.

quinlan
Frances Quinlan

And that’s awesome! Being a gal myself, you have no idea how happy it makes me to see artists like the ferociously talented Frances Quinlan and singer-songwriter Laura Stevenson getting the credit they so unequivocally deserve. Finally.

But before we go congratulating ourselves for being so progressive or claiming that sexism in the industry is over, we need to take a long, hard look at all the ways that female musicians are regularly mistreated. Because, oh boy, were there a lot of cases of blatant misogyny last year. Get ready to be overwhelmed by hyperlinks…
Continue reading ’2014 Resolution: Let’s Treat Women In Music With Respect’

Superlatones: Most Likely to Succeed

Good music comes from different sources. But when two artists come together in a collaboration, what takes precedence? Who writes the melodies, and who keeps the lyrics fresh? Nowadays, it may seem that mainstream music has grown increasingly diverse, and yet more and more we are hearing from new and unexpected partnerships between genres spanning from funk to opera and beyond. This is why, through Superlatones, we are creating our very own directory—a musical wish-list, if you will—of artists who have yet to join the collaborative bandwagon.

The Dynamic Duo
Florence + The Machine
and
Calvin Harris

 

 

 

 

Continue reading ‘Superlatones: Most Likely to Succeed’

Tuesday, December 20th, 2011

  • If only apl.de.ap’s name could make as much sense as this charity.
  • Way to ruin Christmas, Lady Gaga impersonators.
  • Florence proves she’s quite the singer, even without her machine.
  • Boy George should know that it’s hard to find any fault with royalty.

Friday, November 18, 2011

Kid Cudi Twilight
Metallica Florence and the Machine

GRAMMYs Stiff Slit Ari Up!

Along with the onstage duets of black mentors and white mentees, the now annual ritual of proclaiming the crossover of country and the ubiquity of pyrotechnics, one of the big themes that ran through last night’s GRAMMYs Awards Show was the legacy of the great female performer. From the ten-minute tribute to “the Queen” Aretha Franklin to Lady Gaga’s conspicuous (and borderline Dadaist) thanking of Whitney Houston while accepting the award for “Best Pop Vocals” to the night’s climactic moment—Barbra Streisand’s proclamation of the winner of the “Album of the Year,” there was a sense that the show was bending over backwards to address a panalopy of female perspectives—so much so that if you looked really quickly at Christina Aguilera, Jennifer Hudson, Martina McBride, Yolanda Adams and Florence Welch singing together on stage, you might’ve thought you had tuned into a musical performance of The View.

So this made it all the more disappointing that Ari Up!, the pioneering front woman from the seminal reggae-punk outfit, The Slits, was omitted from the GRAMMYs memorial tribute.  Ari (see Ariane Forster), who died of cancer this past October at the age of 48, was subverting genres and deconstructing female archetypes while Lady Gaga was still saying, “Ga-ga, goo-goo.” During her heyday, Ari and The Slits broke into the punk boy’s club and helped establish the sonic and visual vocabulary that would spawn the early ‘90s riot grrrl movement. Unlike many of her punk rock contemporaries, however, the dreadlocked singer-songwriter never stopped evolving. Her legacy isn’t just of being at the right place at the right time, but is of a career of perpetual risk-taking—from founding a band (at the age of fourteen) with a name that virtually no DJ at the time would dare to utter to performing what she called “space age reggae” with the New Age Steppers to moving to Jamaica and starting to perform under the new moniker, “Medusa” to reuniting with The Slits in 2006.

In fairness, this year’s GRAMMY show was one of the most entertaining in ages and the truth is that someone deserving always gets left out of the memorial montage at every awards show. Moreover, having had the honor of calling Ari my friend, it’s hard to even imagine her wanting her image to dissolve in to Lena Horne and out to Teena Marie. She likely would’ve laughed at the number of cutaways during the telecast to The Apprentice’s Cyndi Lauper who has long since thrown out the torn fishnets and pink tutus that she took from Ari and shared with the mainstream. She would’ve found perverse pleasure in the fact that the only slits being discussed last night were the ones in the gowns of Heidi Klum and Lea Michele.

 


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