Last night’s episode of Friday Night Lights, rebroadcast on NBC falling season four’s original run on DirecTV, was noteworthy for a whole host of reasons. “Stay” followed “The Son,” an episode that broke my heart with its focus on Matt Saracen, the character who has consistently broken my heart throughout the series’ run. While in some ways less heavy than the previous episode, “Stay” drew attention toward two young Dillon couples whose relationships are in jeopardy. One couple –frustrated Dillon townie Saracen and senior Julie Taylor — left town for Austin and came back uncertain if they could remain a couple. Refreshingly, this dischord came not out of a lack of love but from a mature realization that one of them will be starting college next fall and the other really needs to get off a sinking ship.
I had a few quibbles with the episode, of course. One involves Saracen and Taylor’s destination. The couple go to the generically named Austin Indie Music Festival, which seems like an awkward collusion of Fun Fun Fun Fest and South By Southwest. While I believe the show does an acceptional job utilizing the capital (including my neighborhood) as a stand-in for fictional West Texas rural suburb Dillon, it has a habit of clumsily shoehorning in references to the city, its music scene, and the University of Texas. The festival is an example, as is the location for one of the shows Saracen and Taylor attend. To an outsider, seeing a band play the courtyard at Emo’s may not warrant objection. But most regulars will tell you that the atrium is usually a communal space between the venue’s indoor and outdoor stage areas. In the nine years I’ve lived here and the numerous concerts I’ve attended at Emo’s, I’ve never seen a musical act perform in that particular area. I’m sure the spot was chosen because it was easier to light, stage, and film. But the location does kick some folks out of the text, perhaps suggesting the limitations of trying to doggedly capture and recreate actual spaces for television.
That said, I enjoyed that The Heartless Bastards were featured so prominently in the episode. For one, they can wail — especially guitarist and lead singer Erika Wennerstrom, who took up residency in Austin a few years back. For another, their gritty sound has a crossover appeal that evokes fellow Ohioans The Black Keys as well as Friday Night Lights‘ handle on candid performances and Dogmaesque cinematography.
Also, the inclusion of a band like The Heartless Bastards lines up with the series’ interest in aligning with indie and indie-friendly musical acts through their characters and as a marketing strategy. And regardless of what happens to this young couple, I take comfort in knowing that Wennerstrom’s band might help them get through it.
More like SXSWTFit’s cold! Remember how I mentioned earlier that you should opt for comfort over fashion during the festival? I really ate my words on Saturday. It was in the 40s and windy, but I thought I could brave the weather wearing a peasant skirt I converted into a sundress paired with a cardigan, pleather jacket, and tights. I was very wrong.
Wye Oak – My partner and I checked out their show at the Galaxy Room’s outside stage. This is the third time I’ve seen the Baltimore-based duo and they get better and louder and more sonically interesting each time I see them.
Dum Dum Girls – They played inside and were fine. Much in the vein of Vivian Girls.
Demolished Thoughts – This is a supergroup with Thurston Moore and J. Mascis (Andrew WK was billed, but absent). Awww, dad’s got a punk band. Because he is in Sonic Youth and his band mate led Dinosaur Jr., he gets to play outside at the Mohawk. He sings songs about adolescent disaffection that he scrawled in a notebook, with his tongue planted firmly in his cheek. Kim is bemused. Coco is embarrassed.
Rye Rye - She takes it back to block parties and Roxanne Shanté 45s. And I was a mere few feet away from Ms. Ryeisha Berrain, who was flanked by two male back-up dancers who sported leather jackets and tank tops that said “Rye.” It’s always nice to see cocky, bubbly girls having fun and I’ve been having fun with her since my neighbor Rosa-María brought “Shake It to the Ground” into my life.
Broken Bells – Obviously the Danger Mouse/James Mercer collaboration drew a lot of attention. They played several shows to maximum capacity crowds. And good for them. But it’s only okay to me — give me Brian Burton’s collaborations with Cee-Lo Green and Damon Albarn over pleasant 60s power pop that basically sounds exactly like The Shins (and a little like The Dandy Warhols) any day.
After that, I kind of hit a wall because I was cold and therefore cranky. Kinda paid attention to Real Estate’s set inside.
The Black Keys – They got a late start and it was effin’ cold outside but still well worth it. I’ve never seen the Akron duo and they were killer.
From there I had to change clothes. On the way downtown, we ran into our friend Jessalyn, who was feeling the chill too. When Canadians think it’s cold, I feel quite validated. We headed back over to Frank where we saw Hector, a fellow KVRX alum, and those nice folks we met from KALX yesterday. Glad they got to find out the magic that is Austin’s artisan sausage haven. We also saw Irene from The Real World: Seattle, who I think walked past me right as I was explaining her “celebrity” to my partner. A similar incident happened with Emily Mortimer in New Orleans last spring. Both ladies gave me a bit of a stink eye.
YellowFever – Back at the Mohawk. I’ve actually never seen this Austin duo before, but have liked them for quite a while. Lovely sound, warmed my bones a bit.
Total Abuse – Noise band that played over at Barbarella. Something tells me they’ve listened to The Jesus Lizard. Especially the lead singer, who was working quite a crazy eye.
Kings Go Forth – Back at Galaxy. Ten-piece Midwestern funk ensemble who have clearly spent time listening to Curtis Mayfield and Earth Wind and Fire. Pretty fun, though looser than, say, Sharon Jones and The Dap-Kings. Also, I wonder how they will be marketed. Because I saw lots of cool kids at the show, but the band is itself pretty uncool. You know, they’re mainly paunchy older dudes in tunics. I don’t have a problem with it — as a matter of fact, it’s kind of nice that some older musicians are getting attention from younger people. I’m just curious as to how their image will be spun. That said, there were a lot of older people there too. If ever there was a band I saw that I could recommend to just about anyone, this’d be the group.
Oooh, and speaking of older people, this one grandpa in a sport coat and cap got me real mad! As I noticed with several acts at SXSW, Kings Go Forth played their best-known hit, “One Day,” at the end of their set so as to avoid a mass exodus of dabblers. When the band said they had one last song, Pappy rushed the stage and yelled “ONE DAY!” which of course they played. But this jackass started gyrating and trying to get people to dance with him like he didn’t just order the band to play a song. Ugh. They aren’t your monkeys, old man.
Tried to see Best Coast back at Barbarella, but had a feeling we should return to Mohawk in anticipation of a big turnout for Death at 1 a.m. Sure enough, the venue was at capacity . . . for Surfer Blood. Ya’ll, I know they’re a big buzz band and I was pleasantly surprised that anyone could form a band in West Palm Beach, but I was unimpressed. One minute they sounded like The Smiths, then the The Shins, and their hit sounds like The Offspring covering Big Country. Ho hum. Lots of people came only for their set, including MTV VJ/walking exoskeleton John Norris.
Once Surfer Blood wrapped up, we got in to see Dâm-Funk, which was totally worth it. His voice was great, the band was tight and, as the kid next to me texted to a friend, “the mother fucker had a keytar.” I’m sure a lot of folks got pregnant after his set.
And then . . .
Death – I was stoked that they played Fun Fun Fun Fest, and I’m still excited. These guys were making this music in Detroit in the mid-70s before punk officially happened and long before it merged with funk. And they’re still killing it and keeping it positive and politically conscious at the same time. Just sayin’.
On Sunday, we met up with our friends Karin and Jacob to see Jacob’s friends’ band RICE at Beerland for Panache‘s post-SXSW showcase. Good screamy fun from the West Coast by way of the East Coast. We also saw Screens, who I liked a lot. Then we ended the night at Emo’s to see the way ruling Paradise Titty play another rousing show.
Unfortunately, there were plenty of shows I missed. However, I’m excited that I saw so many female artists and yet missed these acts: YACHT, The Coathangers, Grass Widow, Talk Normal, The xx, Psalm One, and Invincible. And while I wish that damn highway didn’t divide the town, I think I got to see a lot of great shows. Please feel free to share your thoughts on SXSW 2k10 and we’ll do it again next spring.
Wristbands for SXSW went on sale today. Perhaps it comes as no surprise that the music festival is my favorite time of the year. I get no sleep, somehow go to work during the day, my feet hurt real bad, I smell like garbage soup come Sunday morning, and I usually end my nights with deliciously greasy food to soak up the beer. Absolute best. But since I know the proceedings can be a little overwhelming, I thought I’d offer some tips.
First, some petty bullshit.
-Calling it “South By” sounds like you’re trying to break into the industry. If you keep going, you’ll find that “South West” rolls right off the tongue. Okay, you can call it “South By.” Especially if we’re friends. I won’t correct you or make a face. But I will call it “South By South West.”
Now, some practical information regarding comfort.
-Relaxed dress code, ya’ll. Many follow the impulse to get styled out. And hey, power to you if you’re young and like playing with clothes. And if you decide that leather jodhpurs look great with your aunt’s vintage blue sequined tube top and later discover that you’re horribly wrong, Vice or Look At This Fucking Hipster might still take your picture and you can tell/text/Tweet your friends. I’m more casual, however. Hence why you haven’t seen me. The best you could hope for from me is being the brown-haired girl in a red hooded sweatshirt standing almost out of frame smirking at the girl wearing a tube top and jodhpurs.
-Keep in mind that you’ll be on your feet 98% of the time. You’ll be standing in lines or in front of bands or walking to places where you’ll be standing in lines or in front of bands. Some of these places will be outdoors where you’ll kick up dirt. It could rain. Some asshole might drop a full beer bottle or step on your toes. This is not the time to break out those pointy flats, gladiator sandals, platform pumps, peep-toe booties, jellies, or whatever fashionable shoe begs an audience. Think sneakers or, if you must be cool, flat-heeled boots. Also, since the 90s are back, maybe you still have a pair of floral print Doc Martens. If you have them in a size 5 and don’t want them anymore, give them to me.
-Free beer is great. If candy be dandy, then liquor be quicker. But you’re gonna need to drink lots of water. Dehydration is not the move.
-Remember that deliciously greasy late-night food I was talking about? Might I recommend Star Seeds or the vegan-friendly Kebabalicious for your cravings? Can’t go wrong with a treat from Mrs. Johnson’s either, especially since you can get a fresh glazed donut for free. I haven’t been to the 24 Diner yet, but it might be worth pursuing. If you wanna go the drive-thru route, What-A-Burger is Texas’s gift to tourists. I’m not so into Kerbey Lane or Magnolia Café, but they get it done. These are just some after-hours options. Entertaining the idea of what restaurant to eat at in Austin is a decision to step into a larger world. We’ve got good food locked down. If you’re looking for vegan fare, Lazy Smurf was good enough to provide a comprehensive list of restaurants. Happy eating!
-Sunscreen is a buddy. Earplugs are buddies too. But I always forget to bring them.
And now, the music.
-If you wanna gadabout and maybe see some shows, there’s lots of options. The festival offers tons of free, all-ages stuff put together by good people like Todd P. They’re even nice enough to offer those listings in neat little indexes you can fold in your back pocket. But if you want to see specific acts, particularly buzz artists covered by The Onion, Pitchfork, NPR, or others, you’re most likely gonna need a wristband. This is an international festival. Venues fill to capacity. If you can’t make this happen but you’re a student on spring break or can take off work, day shows and after-hours parties are your buddies. You can see a lot of up-and-coming acts that will be playing in the evening for little to no cover.
-Even if you can make it happen, take some time to enjoy the day shows. KVRX always delivers. TerrorbirdMedia put together great showcases. Yard Dog is for sweethearts. NPR is a buddy. GRCA is putting together a great day show.
-If you are coming in from out of town, please make sure you check out our local talent. Austin’s touted as the live music capital for a reason, as the city is lousy with awesome bands. One only needs to check out Matador’s Casual Victim Pile compilation for recent evidence (note: the title is an anagram for “live music capital” — har har). As a local, I tend not to see so many local bands during the evening because they’re around and I have to prioritize. But if I didn’t, I’d see as many Austin bands as I could. You should too.
-If you like an act, check to see what label they’re on. Chances are you might like another band on the roster. If you do, it’s probably worth checking out the label’s showcase. Some record labels I follow: Merge, DFA/Astralwerks, Warp, Kill Rock Stars, K, Stones Throw, anticon., XL, 4AD, Carpark, Kranky, and Sub Pop. They usually put on day shows as well, sometimes with other labels.
-If you feel like exploring new sounds or are intrigued by an act because of its name, do a little investigating. Might I suggest checking in with that thing called MySpace as a starting point? It has to be good for something.
-Don’t be afraid of bands you don’t know. Trust your friends and their tastes if you have evidence of compatibility, because you might discover something really special. In 2005, I remember going to the Church of the Friendly Ghost (RIP) to see a band because someone I knew thought I’d really like them. They were a British dance band and I don’t believe they had a deal in the states yet. They were a polite, brainy bunch who put on a great show and had lots of energy. They even did a charming cover of Fleetwood Mac’s “Miracles.” Their name is Hot Chip and I haven’t been able to catch them since.
-Build a schedule. You can do it through SXSW’s Web site. Print it out or plug it into your phone. You’ll want it with you at all times.
-Stay connected. I posted this today, but acts will be added up to the last possible minute. Check SXSW’s Web site, Twitter, Facebook, listservs, various e-mags, etc. I will also update this post as more acts I like are announced.
-Finally, I’ll offer up lists of bands I’m planning to see so that setting a schedule can be a bit more manageable. This is by no means a comprehensive list, but rather my list. I’m not interested in being a tastemaker. I’ve taken the liberty of putting my selections in tiers. Tier 1 are acts you can only see during SXSW (last year’s example was Flower Travellin’ Band, a 60s-era Japanese psych-noise band). Tier 2 are the acts I’m really hoping to see. Tier 3 are the acts that have a lot of hype around them or staying power to them and are worth seeing. The Texas section is self-explanatory, and is all-killer, no filler. It’s a hierarchy, but it keeps things tidy. Also, I provided links to every artist so you can check ‘em out.
Aa, Julianna Barwick, The Besnard Lakes, Best Coast, Black Dynamite Sound Orchestra, Black Milk, Bomba Estéreo, Breakestra, Califone, Carolina Chocolate Drops, Exene Cervenka, Daedelus, Kimya Dawson, Dengue Fever, Dosh, Damaged Good$, Dam Funk, The Entrance Band, Explode Into Colors, Fashawn, Flying Lotus, GZA, Invincible, Jean Grae, Sharon Jones and the Dap-Kings, Les Savy Fav, Liars, Lyrics Born, Madlib, Major Lazer (their debut album didn’t meet my lofty expectations, but they should be fun in a live setting), Mayer Hawthorne and the County, Memory Tapes, MEN, Mountain Man, Murs, 9th Wonder, Peanut Butter Wolf, Jemina Pearl, People Under the Stairs, Phantogram, Pharoahe Monch, Psalm One, Smoosh, Themselves, Tobacco, Toro Y Moi, Total Abuse, Viv Albertine, The Walkmen, Wye Oak, The xx, YACHT.
Matias Aguayo, Andrew WK, Blue Scholars, BO-PEEP, Sarah Borges and the Broken Singles, Bowerbirds, Kría Brekkan, Broken Bells, Broken Social Scene, Buckshot, !!!, Class Actress, Cocktail Slippers, Crystal Antlers, Drawlings, The Ettes, 4th Pyramid, The Fresh & Onlys, General Elektriks, Golden Triangle, Ha Ha Tonka, Hole (if it happens), Horse Feathers, Hunx and his Punx, jj, Kid Sister, KIT, Solange Knowles, Sondre Lerche, Thurston Moore, Neon Indian, Nappy Roots, No Age, Denitia Odigie, Peelander-Z, Pocahaunted, Pomegranates, Ra Ra Riot, The Raveonettes, Rhymefest, The Ruby Suns, Rye Rye, School Of Seven Bells, She & Him, Slum Village, Surfer Blood, Thee Oh Sees, Titus Andronicus, Tyvek, Uffie, The Very Best, Visqueen, Washed Out, Wale, Warpaint, The Watson Twins, Yip-Yip, Jonneine Zapata, Zs.
Balmorhea, Best Fwends, Scott H. Biram, The Carrots, Dikes of Holland, Daniel Francis Doyle, Follow That Bird, Girl in a Coma, Paradise Titty, Pink Nasty, RATKING, Spoon (sorta local, though a big-tent act; they get a pass because Transference is my favorite album of 2010 thus far), The Strange Boys, T Bird and the Breaks, Ume, When Dinosaurs Ruled The Earth, Wine and Revolution, Woven Bones, White Ghost Shivers, YellowFever.
Have fun! See you around town!
For financial reasons, I was only able to swing one day of Fun Fun Fun Fest so I’m blogging while many in this fair city are catching some good music in Waterloo Park. Although, admittedly, if you’re gonna do one day of the festival, I think yesterday was the way to go. I got to check several bands I’ve never seen before off my list: No Age (who I’ve missed by a marrow margin at least three times), Jesus Lizard, Pharcyde, Les Savy Fav, and Death.
But if you have the scratch, please make sure everyone sees one of Mika Miko’s last shows ever on the black stage at 2:55. I might try to get down there later just to hear it from the other side of the fence.
Mika Miko’s exceptional presence on this year’s bill seems as good a place as any to remember that, as Melissa at GRCA astutely pointed out in her recent post, this year boasts a very dudecentric line-up. So I’ll review Jacqueline Warwick’s book Girl Groups, Girl Culture: Popular Music and Identity in the 1960s book in the hopes that at least one historically significant girl group or all-female band will reunite for next year’s FFFF like Death did this year. And like the Shangri-Las did at CBGB’s in 1977.
As much as I hate comparing women’s work so as to pit them in opposition, Warwick’s book is a tremendous example of how effective it can be to narrow the scope of the cultural moment being covered, something I wish Charlotte Greig would have considered when penning her book on girl groups. While Greig truncates the history of the girl group era in order to broaden the definition of what a girl group is, Warwick focuses primarily on this brief but important moment in history (roughly between 1958 and 1965), considering its ongoing influence as an epilogue.
By taking this approach, Warwick considers the girl group era and its participants from several different, often surprising, areas of inquiry. As a result, she proves the cultural signficance of a popular form dismissed by many as superficial, polished, and phony who instead tend to favor rock music’s supposed transcendent raw authenticity, and argues strongly that this binary construction is inherently gendered. Duh, and amen.
Warwick posits that one of the most important things about the girl group era was its insistence on putting girls and young women in the spotlight, introducing a complex, celebratoryn and at times contradictory performance of what the author calls “girlness”. Often, these ladies were working class, and of African American or mixed racial and ethnic heritage. They had few options for financial mobility and minimal career prospects being marriage, motherhood, clerical jobs, and day labor. Forming vocal groups together and cutting records gave them access to other opportuntities toward professional advancement and personal growth, expanding the idea of girlhood as an identity across race and class lines.
Sometimes these groupings resulted in the cultivation of considerable, devoted fan bases that, in The Supremes and The Ronnettes’ cases, were comparable to Beatlemania. Some of those fans were even other male-only rock bands, like The Beach Boys, The Beatles, and later, The Ramones. Take that, pop-rock, girl-boy binaries!
In other words, I’m telling you to read this book.
One thing I appreciate about Warwick’s book from the outset is the celebration of the female voice. As I’ve long believed and argued extensively in this blog, we cannot give short-shrift to singers. While they can assuredly be tokenized and objectified, but they can also be empowered, embodied, and forge their own agency. Heartenly, she finds much going on with the voice, a distinct instrument no matter how it may have been manipulated or homogenized by label owners like Motown’s Barry Gordy and producers like Phil Spector and his overwhelming wall of sound. She hears the genteel precision of Diana Ross’s soprano, the urgent purr of Ronnie Spector’s husky alto, the untrained wavering of Shirelle Shirley Owens’s pitch, the gutteral inflections on Supreme Florence Ballard’s tone, the put-on nasal affectations of Broadway-trained groups like The Angels, the racial dimensions of Dusty Springfield’s blue-eyed soul, and the teenaged monotone of Shangri-La Mary Weiss.
She also hears these girls singing to one another, often in their own forms of feminine dialect and for the purposes of providing support and advice. On record, acts like The Dixie Cups, The Crystals, Betty Everett, and The Velvelettes would pepper their songs with seemingly nonsensical words and phrases like “iko iko,” “da doo ron ron,” “shoop,” and “doo lang doo lang,” often provided by backing vocalists as a means of support for the lead vocalist, who might be intimating her feelings about burgeoning romance or her conflicted feelings in the aftermath of a break-up.
Often, these girls were providing one another moral support and providing advice as well. While Warwick notes that advice songs tended to be the domain of girl groups with African American members like The Velvelettes, The Shirelles, The Chiffons, and The Marvelettes, they often imparted wisdom to their audiences that they learned from their mothers or their sisters, as well as sharing what they’ve learned from their own experiences. In doing so, these songs provided a counterargument to the assertion that girl groups only sang about boys and also expanded female discourse in popular music by including the words and experiences of generations of women into then present-day pop songs by girls.
It cannot be ignored that while many girl group songs were written by men, not all of them were. As mentioned elsewhere, Brill Building stalwarts like Cynthia Weil, Ellie Greenwich, and Carole King were of paramount importance to the era. Many of these women, like Greenwich, wrote about seemingly teenage issues like young love and treated it as legitimate, at times giving it life-and-death importance, as she did on The Shangri-Las’ “Leader of the Pack.”
King is a particularly interesting case as well. Before striking out on her own as a solo artist, she wrote many important songs for girl groups. Some songs, like The Crystals’ “He Hit Me (And It Felt Like a Kiss)” address the troubling and dangerous aspects of patriarchy and oppression, and have been covered to harrowing effect by bands like Hole and Grizzly Bear.
Other songs King penned gesture toward the era’s prescience regarding shifting cultural attitudes toward feminism, female agency, and sexual autonomy, as on The Shirelles’ anthemic “Will You Love Me Tomorrow?”
Girl groups were also clearly singing with one another, as girl groups often were comprised of siblings and relatives who wore matching outfits and performed intricate choreography to suggest that these girls were a unit, despite at times having clearly defined lead singers and stars who (especially in Diana Ross’s case) were thin and had a more conventional look and sound.
It was this image coordination that made The Ronnettes able to ingratiate night clubs when they were underaged, gave them the confidence to perform at those night clubs, and provided them with a sense of belonging that made them tough enough to brave any New York City street. It also makes this sense of actual or engineered sisterhood and camderadie seem especially fragile when success encroaches on it, as the tragic dimensions of Estelle Bennett and Florence Ballard‘s post-girl group lives remind.
Warwick shies from making any explicitly queer connections to girl groups beyond passing references to Springfield and Lesley Gore’s orientations and their relationships with the closet. I would have liked a bit more discussion of the queer dynamics of the groups’ homosocial bonding both on- and off-record. A brief appraisal of queer fandom (seemingly most pronounced among certain circles of gay men, though not exclusively) would also have been appreciated.
That said, I do appreciate Warwick reminding her readers of girl groups’ continued impact. As this is the section of the book that gets less focus, it would be worthwhile to read Warwick’s and Greig’s books together to get a larger sense of how punk, hip hop, and contemporary pop music were influenced by girl groups.
I would hasten to add country music to the list of genres that were shaped by this era. Given last night’s Saturday Night Live, which featured crossover star Taylor Swift as both host and musical guest (a rare opportunity for most pop stars, unless they are Justin or Britney). Watching her play a brace-faced teenager in a skit about parents who are worse drivers than their kids and her performance of “You Belong To Me” complete with careful, song-appropriate gestures, it was clear to me that the girl group era continues. As Mika Miko performs one of their last shows later today, I’ll wonder where it’ll permeate next.
Today’s post is in memory of Mika Miko, who announced yesterday that they would be splitting up to pursue school, relationships, and other projects. Here’s hoping that what could have been their side projects will be warmly received as former members’ main vehicles. My only hope is for something as awesome as I.U.D. or New Age Steppers. If you’re in Austin, try to catch ‘em at Fun Fun Fun Fest.
Thought I’d shine a light on side projects today, those illusive creatures of popular music. The post is inspired by Butter 08, a side project between Cibo Matto’s Miho Hatori and Yuka Honda, Russell Simins of The John Spencer Blues Explosion, Rick Lee of Skeleton Key, and director/graphic artist Mike Mills. They made one album, and it was awesome. So awesome that Grand Royal owner Mike D signed them without hearing a note.
“Butter of ’69″
Directed by Evan Bernard
The New Pornographers are another great side project, though they”ve had more staying power than Butter 08. Boasting such powerhouses as Carl Newman and Dan Bejar (justly praised for his work in Destroyer), it also counts Kathryn Calder and Neko Case amongst its ranks, making their work all the richer for it.
The New Pornographers
Directed by Darren Pasemko
These two groups are a bit dude-heavy and rely on fairly traditional instrumentation and line-up configurations. If you’ve got some side projects you wanna celebrate, let’s talk about ‘em in the comments section.