I’m a big fan of inter-artist dialogue. Whether it be between a painter and a photographer, a sculptor and a dancer or an author and a cartoonist. Even when working in the same medium, our processes are all different, but despite this, the foundations of creative response share one key commonality: Audacious curiosity. And it’s interesting, of course, to see different artists’ take on the same words and ideas.
The idea of exploring curiosities is fundamental to why I enjoy speaking with and learning from artists. Though my field is technically scientific in nature, expressions of artistry have always deeply inspired my journalistic process in how it re-energizes my sense of observation and broadens my perception of the realities surrounding me. This is a world of sounds, colors and shapes more than a world of numbers, formulas and statistics and these things should never be left out of the storytelling process.
One artist whose work has consistently inspired and informed my perspective on art, journalism and storytelling is street-performer-turned-musician Amanda Palmer, formerly of the Dresden Dolls. I know I’ve spoken of her a bit on this blog before, but her work epitomizes these things which I am trying (in a very meandering way) to get at. Through her music, writing (her blog is a great read), she enlivens the idea of all of us storytelling creators as a global community in an increasingly fractionalized world. She isn’t afraid to try things that haven’t been done before and is pioneering what I believe is an early version of a new economic model for creative-types to earn a living doing the thing they love to do. A beautiful concept, no?
Palmer’s most recent creation that grabbed my eye is a music video she made with Michael Pope for the Tegan and Sara single “Hell.”
Filmed over the course of one day in New York City, Palmer pays homage to the Canadian twins’ fantastic song with an impassioned piece of performance from the streets. Palmer had this to say regarding the video’s inspiration:
“….i got the idea brewing when i saw some footage of tegan intro-ing the song at town hall in NYC a few months ago and talking about how she would pass all these homeless people in her new neighborhood in vancouver and feel that awful feeling you feel of frustration and hopelessness. i worked from there. some of the best things that happened never made it onto film, i wish you could have seen what i saw that day. it felt really good to run through the city at the top of my lungs, with an actual excuse that was (relatively) sane. i always feel like doing that. but i rarely have a reason.”
It’s pretty rad to see Palmer’s version of T+S’s experience.
I had originally hoped to start the new year here with another “Best beats” post similar to last year’s, but as I went to work on the year-end summary, the list format just wasn’t working for me.. I was fortunate enough to engage with art of so many different varieties in the past year, that a bulleted list just didn’t seem to do it justice. Here’s my attempt at encapsulating a banner year of artistic appreciation chronologically-ish.
When I began to think back on all of the live music I have witnessed in the past year, it was especially hard to choose a favorite. And then, my mind drifted back to a lovely spring evening in the history-filled Old Music Hall on the University of Wisconsin’s infamous Bascom Hill. Jens Lekman is a musical genius, and his performance that evening was breathtaking.
Running late to the show, which I was staffing as part of my internship duties with a music promoter, I stumbled into the theater just in time to catch the end of Lekman’s sound check – a nearly private performance of “Your Arms Around Me,” off of the Swede’s critically-acclaimed and fan-adored 2007 album Night Falls Over Kortedala. Later that evening, before a packed house of university hipsters happy to have such a wonderful excuse to spend a Sunday night avoiding the library, Lekman and his band lilted through their set list with a whimsical and charming style that filled the room. This show certainly deserves the stamp of “best show of the year” from me.
Springtime was home to a number of other fantastic shows which served as excellent distractions to my final semester as a college student in Madison. Leslie Hall made me a believer, once more, in the power of the gem sweater with her sparkling (though too short) set at the High Noon in March. Stars sparkled at the Barrymore. Ra Ra Riot proved why they’ve received blog buzz up to wazoo — these kids are going places fast. Tegan and Sara were their adorable, witty selves — though the mostly 18-minus audience of screaming adolescent girls made me feel out of place and… uncomfortable. And in May, at the Annex, The Kills killed. Their shows have a performance art, voyeuristic quality to them – like you’re watching a private, intimate moment between lovers while peaking through their living room window.
The spring also brought with it the release of my favorite album of the year. Around a month after the Lekman show, on April 29, I ran to the record store to pick up Portishead‘s first original release in over a decade, Third. To say that the album exceeded my expectations would be one sin of an understatement. The album is brilliant, continuing Beth Gibbons and company’s pension for music that creates the soundtrack of loneliness and despair. The single “The Rip,” featured in the video below, is a particular favorite of mine. This is music that, much like P-Head’s previous releases, will stand the test of time and cement their position as rock, er, so-called “trip hop,” legends.
And then it was summer. The official new owner of a very expensive piece of paper, I began waiting tables with the same zeal I had usually reserved for racing through poorly-written essays toward the finish line of a rapidly-approaching due-date. I also sold edible, flower-shaped fruit baskets to middle-aged women. But more importantly than that, it was my last summer of pure “freedom.” Of course, I saw the Sex and the City movie. And of course, I cried. This was required — otherwise, I risked losing the precious gay card (on which I’d only recently had my credit limit increased..). And there were Hellboy and Twilight, both of which were less impressive. Thanks to more recently viewed films like Doubt, The Curious Case of Benjamin Button and Milk (which I’ll talk about more later), the year’s unimpressive cinematic lineup was mostly salvaged in my mind.
The summer’s main jewel was a weekend trip to Chicago for the Pitchfork Music Festival. The hot, summer weekend spent out in the sun basking in glorious sets from Animal Collective, !!!, Dodos and M. Ward, to name just a few of the highlights, was a fantastic send-off to summer, and an excellent preview to the city which I would shortly thereafter call home. Bon Iver was a particularly great way to wind down from Sunday’s craziness, as his music played just as well to the sweaty, dehydrated masses as it did at the Orpheum Stage Door for his April show in Madison. Only disappointments: Vampire Weekend‘s far too tame set (are they the most overrated band of the year? Discuss) and missing Cut Copy‘s set due to their tardiness and my own lack of sobriety/patience.
Since calling Chicago my permanent home, my financial position has precluded enjoying as much live music as I would’ve liked to, but I still managed to make it out of the apartment for quite a few notable shows: Andrew Bird, free of charge, at Jay Pritzker Pavilion; Lykke Li, bouncing around the Empty Bottle stage; El Guincho, launching a hipster dance pit to their infectious fusion beats. In early December, Amanda Palmer played the Metro, proving that she can rock the stage solo just as well as when she performed as half of the Dresden Dolls earlier in the year at a January show at the Vic. Another bonus of the Palmer show, which surprisingly had the most diverse audience in terms of age and appearance of any other show attended this year, was the on-stage appearance of Neil Gaiman. Gaiman read had an excerpt from his upcoming book collaboration with Palmer. The show kicked outrageous amounts of ass — don’t miss any opportunity that you have to see this fabulous performer live. You won’t regret it. Not a chance.
And finally, I have to give a shout-out to the movie that really made me cry like a baby — moving me to the core with its ironic relevance to today’s political landscape facing the LGBT community. Milk is an incredible film, and it (as well as Sean Penn) deserves all of the accolades coming its way. Harvey Milk died at the hands of misunderstanding and ignorance of the same grain as that which allowed Prop. 8 to pass in California. Although it is true, as the movie said, that “you have to give them hope,” hope alone is no longer going to cut it. I hope that this film inspires all those who see it to call out and stand against prejudice and double-standards whenever you see them — such as the apparently new law that it is illegal to fly while Muslim.