Posts Tagged ‘Jack White

14
Apr
10

Happy birthday, Loretta Lynn

Loretta Lynn; image courtesy of likeawhisper.wordpress.com

I know we’re all still mourning the recent loss of Dixie Carter, whose inimitable Julia Sugarbaker was an early feminist role model on this Southern girl. But let’s not forget that today is another Southern dame’s birthday. Loretta Lynn is 76, and I’m very grateful. Though not without its problems, I remain a fan of Coal Miner’s Daughter and Sissy Spacek’s Oscar-winning turn as Lynn.

Sissy Spacek as Loretta Lynn; image courtesy of wikimedia.org

I love that voice and I’ve always appreciated that she — like Dolly Parton — celebrated her humble roots.

Of course, their folksiness feeds into how country music constructs itself to be music for the people. Thus, I’ve always treasured Lynn’s political contributions to popular music. This woman recorded “The Pill,” one of the first popular songs about birth control, back in 1972 before its 1975 release. While it initially received controversy for seemingly contradicting country music’s values, it was embraced by the mainstream and remains a standard. In 1966, she also recorded “Dear Uncle Sam,” a protest song about the Vietnam War sung from the perspective of a soldier’s wife, which she has since performed in response to the Iraq War. She also continues to work with younger artists, most notably White Stripes’ frontman Jack White on 2004′s Van Lear Rose.

And I’ve always appreciated how Lynn could respect other people’s perspectives while holding true to her own. Note the grace with which she brokered peace between Darlene Connor’s vegetarianism and her mother’s entrepreneurial spirit in the Amy Sherman-Palladino penned “Lanford Daze” episode of Roseanne when the Lunch Box tabled at a local food fair. Lynn even got a loose meat sandwich out of it. While I don’t like the female competition in “You Ain’t Woman Enough (To Take My Man),” I do love that Roseanne and Lynn sing it together. Play us off!

22
Sep
09

Music Videos: Wide open spaces

So, this blog has covered Lisa A. Lewis’s use of access signs and discovery signs in music videos, particularly those focused on female address. For discovery signs, we’ve looked at bedrooms. For access signs, we’ve looked at streets, a space argued by folks like Angela McRobbie as traditionally being considered off limits to women and girls, bending Jürgen Habermas’s theory of the public sphere to note the omission of any considerable, influential female presence.

But what about access signs that are open spaces, like fields? What do we do with them? What do we do in them, especially if we’re female and supposedly in danger if we don’t stay indoors darning our socks? If the music videos in today’s post are any indication, we might have the power to freeze time, suspending the actions of nuclear families and/or rescue squads in the process (though we might also feel weird about our music being used in the New Moon soundtrack, but such is the shaky economic state of the music industry and, perhaps as a result, the wonky nature of “indie”).

St. Vincent
“Marrow”
Actor
Directed by Terri Timely

We might also lay waste to one another, pumping each other full of lead behind a suburban neighborhood. In my version of this music video, though, the camera fixes on Alison Mosshart as she walks off into the sunset.

The Dead Weather
“Treat Me Like Your Mother”
Horehound
Directed by Jonathan Glazer

31
Jul
09

Call to Action: Listen to Noveller

Sarah Lipstate, aka Noveller; image courtesy of loumuenz.com

Sarah Lipstate, aka Noveller; image courtesy of loumuenz.com

So, perhaps you’ve seen the trailer for It Might Get Loud. I’ve seen in at two different movie screenings. For the uninformed, it’s a documentary about how “three icons get together” in the name of rock. These three icons are guitarists Led Zeppelin’s Jimmy Page, U2′s The Edge, and The White Stripes’ Jack White.

I bet you know how I feel. The words you want are “wank” and “decadeism,” accompanied by an eye roll.

Now, apart from confirming my suspicions that The Edge relies too much on effects pedals, I don’t have any real beef with these dudes. Oh, I also think the whole stage name business with the aforementioned David Evans is dumb, but duh. It’s just — why these three? And then comes my obligatory question that is often met with a compromised answer, if it’s even addressed: where are the guitar-playing women, girls, and/or people of color?

I’ve provided at least two counterexamples for the women – Marnie Stern and St. Vincent. Today, I’ll add one more. Sarah Lipstate, aka Noveller. Her gloriously named Red Rainbows comes out this fall. Can’t wait.

Full disclosure: Sarah and I were acquaintances at KVRX. We never hung out, but I always knew she was really talented (and not just with guitar — for example, I once saw her play a theremin at a house party). When we were at KVRX, she was recording as one half of One Umbrella, for whom she also made experimental films, which she continues to do (she’s a UT RTF alumna as well). She’s also performed with Glenn Branca and finished a stint with Parts & Labor. And I’m really excited to see her breaking out on her own. You should be too.





 

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