“A BED AND A CHAIR: A New York Love Affair” was a Stephen Sondheim compilation presented by New York City Center and Jazz At At Lincoln Center, and as longtime Sondheimite, I’m sad to say I missed what promised to be a glorious night at the theater.
Another Sondheim revue, you say? Yeah, I know.
But this one promised to be different, as the over two-dozen Sondheim songs were sifted through jazzy arrangements via Jazz legend Wynton Marsalis, who acted not only as musical director of the show, but performed with the Jazz At Lincoln Center orchestra.
And headlining? Only the peerless Sondheim muse Bernadette Peters, and the incomparable Norm Lewis, along with the fantastic Jeremy Jordan and Cyrille Aimée.
AND the show was directed by the brilliant John Doyle, who won the Tony Award for Best Direction of a Musical for the genius revival of Sondheim’s “Sweeney Todd” – with Michael Cerveris and Patti LuPone – almost a decade ago, and has also helmed revivals of “Company” and “Merrily We Roll Along.”
Damn! I missed all that?!
But in our modern age of technology where (almost) nothing goes uncaptured, I was hopeful that some denizen in the dark whipped out their cellphone to somehow encapsulate some of the magic.
Thank you, denizen.
One YouTuber by the name of ggjohnson posted two separate clips of “The Ladies Who Lunch,” as performed by all four headliners. This piece, originally by the eternal Elaine Stritch from the classic “Company” (but you knew that already), sprinkles other Sondheim gems throughout the performance – “Agony” (from “Into The Woods”), “Can That Boy Foxtrot” (from “Follies”) and “Uptown, Downtown” (from “Marry Me A Little”/”Follies”) – to create a medley that you wouldn’t think would work, but, together, form a new amalgamation that cabaret performers will replicate for years to come.
The first minute or so of the video fade in and out of darkness, as gg was conspicuously trying to go unnoticed, but even with these minor caveats – and hopefully with the blessing of gg, who owns this footage – I edited both clips together as a whole for a streamlined view of this extraordinary medley.
One part of two, this is a delight to behold. Thank you gg!
They remain one of the few hipster “cult” bands who deserve the (sorta) mainstream success that they’ve (sorta) acquired. But how “cult” is a band, really, when your last two CDs lived at the upper realms of Billboard’s Top 200 album charts? Their 2007 release, NEON BIBLE, debuted and peaked at #2 – and their recent Grammy Winning ALBUM OF THE YEAR release, THE SUBURBS, debuted at the zenith of the charts.
I had a hearty laugh (as I always do at a hipster’s expense) at this video.
I’ve been known – much to the chagrin of many of my Little Monster friends – to handily and mercilessly knock Lady Gaga at every whim. Perusing online, I’ve come across countless times my exaggerated disgust for her machinations resulted in comments curious of her longevity. Well, something funny happened during the course of 2010. No, my opinion of her music wasn’t altered much, but my respect for Lady Gaga – as a woman and public figure – took a turn. And, believe it or not, I have Oprah Winfrey to thank for that.
Previously avoiding all print/online/TV things Gaga (I mean, after all, there was nothing this attention whore could possibly invoke that would negate my aversion), I admittedly watched with prejudiced curiosity. What happened was something I didn’t expect. Here was arguably the most popular entertainer on earth – the most talked about, the most controversial, simultaneously the most maligned and worshiped since the heyday of Madonna’s hierarchy, and there didn’t seem to be a haughty bone in her body. Rarely have I witnessed such humility, such earthiness (I know!), such devotion to fans from a pop star of Gaga’s uber-popularity. For all the comparison hubbub, here was the antithesis of Madonna.
It was almost an epiphany. Was I allowing my distaste for her glaring attention-seeking shenanigans (and ersatz first few singles) to miss the abutment of performance art and commerce, from a tough New York cookie with a heart of gold? Sure, such combinations aren’t that new. Madonna – minus the heart of gold, natch – explored the art/commerce agenda brilliantly since her “Like A Virgin” performance at the VMAs over two decades ago (most unsuccessfully – in idea and ideal, anyway – during her EROTICA/SEX/BODY OF EVIDENCE debacle). Purely as an entity, I wanna hang out in the East Village with Gaga, smoke some pot, and throw back a few whiskey sours. And I’ve never smoked pot and loathe whiskey. The Power Of Gaga! (Of course, such brazen tangibility just might be a small ingredient in Gaga’s world domination brew…)
One should always let the music speak for itself, of course, and not be deterred one way or the other from outside sources, so I thought, in light of my ‘a-ha!’ Oprah/Gaga moment, that it was my duty to spelunk her debut with a different, less prejudiced mindset.
Sigh.
THE FAME still felt sonically antiquated, overstuffed; a dance neophyte who had yet to pass the audition. True, THE FAME MONSTER (a sorta addendum to THE FAME, and actually released around the world as a ‘deluxe’ edition) proved an infinitely hookier, more psycho-sexualized transgression. That it includes a song for the ages, “Bad Romance” didn’t hurt. But I just couldn’t get over the feeling that I was being (musically, anyway) conned.
Remember, Miss Stefani Joanne Angelina Germanotta wasn’t born Lady Gaga. She started her career as another whiny piano-playing singer/songwriter (never had enough of those in the late 90s early aughts, huh?) playing the night club circuit who, when she got nowhere fast because she sounded like every other angsty girl-with-a-piano, decided to write chintzy dance pop songs we’ve heard a thousand times before, only juxtaposing her aesthete was a concoction of cult figures, myriads and icons alike. There was more than a mere dash of Dale Bozzio, more than a smidgen of Grace Jones, more than a measly modicum of Leigh Bowery. All gelled together, with a heaping dose of the Material Girl thrown in, she sought to conquer what she most desired – fame – and became victor.
Yeah, yeah, I know – since time immemorial, Rock ‘N Roll’s been populated with “borrowed” musicality. You can hear the history of Muddy Waters in Led Zeppelin’s whole catalogue; you can feel the ectoplasm of early archetypes like Waters, Bo Diddly, Little Richards, etc. throughout the Rolling Stones’ classic canon. The sounds of gay, urban, black 70s era R&B and disco saturates the bloodline of Madonna’s 20+ year chartulary. There are shades of music history’s past in every present.
But there’s a fine line between “shades of” and “blatant”. “Born This Way” is such an elaborate – maybe intentional? – “Express Yourself” sound-alike that I half expect Gaga to move to England and acquire a phony, uncomfortable English accent! Forget melody (too obvious) – even the chord progression is too close for comfort. And, to my ears, there are more that a few tints of TLCs “Waterfalls” in the verse cadence. When, on release day, I posted on Facebook (and on YouTube) that perhaps it should be renamed “Express Waterfalls”, Gaga’s army went on the attack. That I wasn’t the only one who heard echoes of T-Boz, Chili and Left Eye was little consolation…though I do thank you, YouTube stranger, for this:
Even though he’s using the wrong section of “EY” (it should be the bridge), am I wrong to think Madonna and TLC should reap in royalties?
These accusations aren’t new to Gaga, of course. It was almost a year ago that Gaga faced similar accusations when her controversial video and single for “Alejandro” was released. The song’s/video’s overt similarities (in sound) to Ace of Bace’s “Don’t Turn Around” and (in vision) Madonna (again) were palpable and evident and the blogosphere couldn’t get enough. Every icon has his/her “haters”, true. Gaga’s haters hated, and her minions steadfastly stood by their queen.
One might surmise, not incorrectly, that the “Born This Way” (or “Express Yourself”, for that matter) theme of self-empowerment isn’t exclusive to the LGBT community. Absolutely. But given Gaga’s historical gay alignment, one can’t argue that “gay rights” is at the core – and the genesis – of its central theme (and none of these latest attacks/accusations negates its Hi-NRG exuberance or its surefire gay anthem aesthetics; the clubs will be thud-thud-thudding this along for months to come, straight into and beyond this summer’s gay pride festivities). Its imminent status in the gay rights movement is almost a given.
Sample lyrics:
Don’t be a drag, just be a queen Whether you’re broke or evergreen You’re black, white, beige, chola descent You’re Lebanese, you’re orient Whether life’s disabilities Left you outcast, bullied, or teased Rejoice and love yourself today ‘Cause baby you were born this way
No matter gay, straight, or bi, Lesbian, transgendered life I’m on the right track baby I was born to survive No matter black, white or beige Chola or orient made I’m on the right track baby I was born to be brave
Hey, no one’s ever accused Gaga of a poetic hierarchy, as these lyrics hammer-point home. But, while her choice of vernacular and syntax might be confounding (her use of the word “orient” is causing some minor controversy), rarely – probably never – in the history of pop music has someone of her mega-status been so forthright, so adamant, so positive, so universal in a pro-gay (read: human) rights stance.
I won’t proclaim absolute conversion just yet (and as a 45 year old, it would be – or should be – an embarrassment to call myself a “little monster”), but as homogeneous guilty pleasure, it’s hook-laden and damned catchy. More importantly, though, if “Born This Way” influences one disillusioned youngster – downtrodden by the darkest forces and most vile animosity from so-called humanity, terrified of the world that refuses to accept their innateness – if it breaks free the shackles of suicide as a pain-ending finale – then let it ring from the mountain tops and across the globe.
If ever a musical were created on the concept of Dan Savage’s important and groundbreaking It Gets Better project, “Born This Way” should not only be it’s theme song, but it’s mantra.
It would have been easy, even in 1997, to discount Fleetwood Mac’s Phoenix-from-the-flame resurrection. Yes, it had been, at that point, almost 7 years since their last quasi-hit album, the Top 20 Buckingham-less BEHIND THE MASK, and a full decade since their last Top 10 (1987s TANGO IN THE NIGHT). Their last #1, MIRAGE, was in 1982. But the Mac’s legend supersedes such frivolities. One should never underestimate the power of hundreds of millions of sold albums, or a Rock n Roll soap opera nonpareil. Fleetwood Mac might have been dinosaurs by the late 1990s, but they were far from extinct.
Of course, with all the turmoil that imploded the band, it was a pipe dream for any ardent Mac fan to ever hope that the classic line-up – obviously its most artistic, and not to mention, lucrative – would ever reform. McVie retired in her English castle, Buckingham was busy with his own career, and Nicks had her own solo career with varying degrees of success, half of which was riddled with drug addiction and recovery.
This lineup’s last public performance was at the request of the White House. Throughout his campaign for president, Bill Clinton used “Don’t Stop” as his official theme song, and President-elect Clinton requested the Mac perform it at his 1993 inauguration. But reuniting wasn’t even on their radar.
But, reunite they did, and the result was a wonderful live album called The Dance. The Grammy-nominated CD hit #1 and a refreshed, healthy, sober and exhilarating Fleetwood Mac embarked upon a comeback for the ages, mounting a monumentally successful tour and reigniting the world’s passion for the classic assemblage.
In the following clips, Stevie Nicks, Lindsay Buckingham, Christine McVie, John McVie and Mick Fleetwood are interviewed in North Hollywood, California, during their rehearsals that begot the CD and live TV concert. The interview took place on April 18 1997.
Enjoy these rare, behind the scenes interviews and performances from Fleetwood Mac!
Too often, early in her career, too much emphasis was focused on Dolly Parton’s facade, rather than her music. That always irked me. Remove the glitz, de-glimmer the glamour, abandon the wigs, and disregard the tits (and forget the plastic surgery) and what you get in Dolly is one of the singular greatest forces of nature in the history of Pop or Country – not only a singer for the ages, but a songwriter nonpareil.
Of course the world recognizes Parton’s unabashedly proud garishness. As Stephen Sondheim once wrote, “You Gotta Get A Gimmick”. But unlike the siren strippers in GYPSY, Parton was never dependent on gimmickry as a pathway to mega-stardom – she merely sprinkled it on a little something extra. And, too, no one cannot depend on such stratagem on the path toward iconic status. It takes a helluva lot of genius and talent to back up such hosannas.
And for nearly 5 decades and going strong, Parton has made a comfortable home upon the mountaintop of Country Music and sustained where few have – living immortality.
Country music is one of the purest of American art forms and Parton its Norman Rockwell, for few have been able to paint such archetypal songscapes that would require an elongated scroll utilizing the most revered superlatives.
Already established as a Country Music icon, even in 1977, she was slowly penetrating Pop culturism (to the extent that “Pop Culture” existed in 1977) – countless TV appearances, film, and even adding Pop and Disco to her musical oeuvre (“Here You Come Again” and “Baby I’m Burning” respectively, as examples). The force still hasn’t stopped – happy for us.
Parton’s popularity has never waned across the world. In 1977, she appeared on the popular West German music show Der Musikladen (which was the continuation of the defunct Beat Club). The extraordinary thing about watching these clips – over three decades past – is how astonishing Parton’s voice has remained almost exact. Her vocals have aged in knowledge only – but that timbre, that soul, that range and that innate lovability, even in the face of adversary – remain astonishingly clarion-like.
Enjoy this rare and enchanting concert~
Parton covers Jackie Wilson’s 1967 soul classic, which was recorded for her #1 Country album, 1977s NEW HARVEST…FIRST GATHERING~
Dolly sings the title song of her 1976 album ALL I CAN DO; both the album and the single reached #3 on the Billboard Country Album charts and Singles charts respectively~
Dolly performs the classic title song from her 1974 album JOLENE; the song reached #1 in 1973 before the album was released. It is ranked #217 on the Rolling Stone magazine’s list of “the 500 Greatest Songs of All Time“.
“My Tennessee Mountain Home” was a #15 Country Hit and the title track from her 1973 album of the same name, which hit #19 on the Billboard Country Album charts.
“Do I Ever Cross Your Mind” was a song that Parton wrote and performed in the 70s but never recorded until the early 80s (on her HEARTBREAK EXPRESS album) and reached #1 on the Country charts in 1982 as a double-A side companion to her re-recording of “I Will Always Love You” for the soundtrack of THE BEST LITTLE WHOREHOUSE IN TEXAS. Here, Dolly performs the song in it’s regular “45RPM” speed, then at “78RPM”. Delightful.
“Coat Of Many Colors” was a #4 Country hit, released from her #7 Country album of the same name. Released in 1971, it remains a staple in her live shows and displays, early on, in depth and in detail, what an astounding songwriter Parton is.
“Apple Jack” is a cut from Parton’s #1 Country album, 1977s NEW HARVEST…FIRST GATHERING~
“Light Of A Clear Blue Morning”, in the original incarnation of her #1 Country album NEW HARVEST…FIRST GATHERING, is my favorite Parton song. Her vocals soar, the melodies morph from bittersweet contemplation to eventual exaltation. Oddly, it only reached #11 on the Country charts. Parton re-recorded the song twice, to lesser degrees; first for the soundtrack of her 1992 film STRAIGHT TALK, then again for her 2004 ‘spiritual’ CD FOR GOD AND COUNTRY.
“I Will Always Love You” is Parton’s signature masterpiece. Nothing needs to be said of it.
“Getting In My Way” is a track from Dolly’s #1 1977 NEW HARVEST…FIRST GATHERING LP.
“Me and Little Andy” is a track from Dolly’s mega-successful pop-crossover LP, 1977s HERE YOU COME AGAIN.
“How Does It Feel” is a track from Parton’s #1 1977 NEW HARVEST…FIRST GATHERING LP.
Dolly closes the show with “Holdin’ On To You”/”The Seeker”, a medley of two tracks from two Parton albums. “Holdin’” is taken from Parton’s 1977 NEW HARVEST…FIRST GATHERING and “The Seeker” is a track from her 1975 DOLLY: THE SEEKER/WE USED TO.
I know, ever since it ingrained itself into the pop culture consciousness over a decade ago, that it’s hip to hate James Cameron’s great epic TITANIC, despite the fact that, flaws and all, it was exhilarating – visually, natch, but via the tremendous acting as well. It’s my opinion that Kate Winslet was robbed of her first Oscar by Helen Hunt’s annoying tics in the overrated TV Movie Of The Week AS GOOD AS IT GETS. And, as Roger Ebert said, “Leonardo DiCaprio not getting nominated for TITANIC is like Clark Gable not getting nominated for GONE WITH THE WIND“. True dat, Rog.
I say, in the nicest way possible, screw you! You’re all liars. TITANICis a fantastic epic for the ages. But, I digress.
I CAN and WILL say, though the wannabe critic in me is telling me not to, that I will more than likely, indubitably HATE this. Easily. No questions asked.
Unprofessional? Sure. But only if I was paid for my analysis.
Anyone who followed my AMERICAN IDOL REPORT CARD back in season 8 knew my adoration for 3 of the Top 4 finalists (the less spoken of Danny Gokey, the better for my indigestion). I considered Kris, Adam and Allison the great triumvirate – the Power of 3.
Last year, Joe Zee from Elle Magazine sat down with the three for some conversation. An edited video was posted on Elle’s own YouTube page, but since I had access to the actual full interviews, I decided to upload them to my own YouTube page for the fans of this terrifically talented trio.
Almost a year later (these interviews were conducted in August of 2009), but as the cliche goes, better late than…oh, you know.
For all I know, French band Phoenix is the latest Hipster Band Of The Moment. Of course, that’s speculative on my part because I’ve yet to hear their latest CD “Wolfgang Amadeus Phoenix” (hey, a little self-aggrandizing album title never hurt anyone) and am only familiar with them by their rather wonky performances on “Saturday Night Live” a few months back.
But, browsing YouTube as I love to do on a lazy Saturday, I came across this rather cool fan-generated vid (via thepinkbismuth) that mashes their catchy-as-hell song “Lisztomania” with choreography courtesy John Hughes’ “The Breakfast Club”. Upon further research (okay, I merely glanced at the RELATED VIDEO box directly to the right of it after reading his video info) I soon learned that this particular clip was a video response to the second clip below, another fan-generated juxtaposition, only in that case, YouTuber avoidantconsumer spliced scenes of various cheesy 80’s Brat Pack films for the BRAT PACK MASHUP. Both made me happy. Happy Sunday~
My New Boyfriend 