“Ke$ha’s real voice
Living proof that Hollywood kills talent.”
I’m sorry but if you think Ke$ha is making anything other than exactly the music she wants to be making, you and I are gonna have words.
Ke$ha grew up in Nashville in a lower middle class family of hippies with strong opinions on spirituality and integrity. She was raised by a single mom who made money, but not much, by writing songs, and music was always a huge part of her life. She was considered white trash by the other kids at her school, and the large population of bible-beaters used to mock her for her weird clothes and alleged skanky reputation.
After all that, she now gets to support herself and her family by making bank writing hugely popular songs about how she doesn’t care if you think she’s trashy because she’s true to herself and won’t apologize for wanting to dance, get laid, and live life the way she believes life should be lived. If that’s not a fucking fairytale ending, I don’t know what is. And I don’t know why you’re trying to erase her role in her own success by acting like some big shot record label executive chose this path for her…like otherwise, she would only ever release strummy acoustic ballads like she’s on some Taylor Swift shit?
I’m not saying this song isn’t beautiful. And I have ears, so I’m not going to argue that it’s not a significant departure from her usual stuff…but why does it automatically qualify as “better” music? How come just because you personally don’t enjoy something, it can be dismissed as having no merit? You sound like a basic white dude who reads Pitchfork.
This song does demonstrate more of her vocal talent than the auto-tuned electro club bangers that she put out on her first album, I’ll give you that. But nobody killed that vocal talent…she still has it. She also has songwriting talent, which she demonstrates by writing all those absurdly catchy hits of hers, as well as songs for other artists. She also has a lot of material you probably haven’t bothered to listen to, including a lot of guitar-driven Southern-rock-influenced tracks on her latest album, and a devastatingly tender cover of Bob Dylan’s Don’t Think Twice. She has plenty of freedom to make whatever music she wants, because her whole life is about doing whatever she wants. Don’t underestimate the power of that. It’s not a small thing for a young woman who is considered crass and unlikeable by so many to become so successful.
Nobody is forcing their will on Ke$ha. If anyone tried to, she’d kick their ass. She’d probably kick yours too, given the opportunity.
Song of the day:
FALL OUT BOY|Where Did the Party Go
We were the kids who screamed, “We weren’t the same”, in sweaty rooms
Now we’re doomed to organizing walk-in closets like tombs
Silent film stars stuck in talking cinema life
So let’s fade away together, one dream at a time
On this day in music history: April 25, 1992 - “Jump” by Kris Kross hits #1 on the Billboard Hot 100 for 8 weeks, also peaking at #2 on the R&B singles chart. Written and produced by Jermaine Dupri, it will be the debut release and biggest hit for the Atlanta, GA rap duo. In 1990, friends Chris Kelly and Chris Smith will be discovered by producer Jermaine Dupri at a shopping mall in their native Atlanta. Dupri will be at the mall with the rap duo Silk Tymes Leather who he is producing. The boys will come up and ask them for an autograph when the young producer asks if they are a group themselves. When they say they’re not, Dupri will be impressed enough with their natural charisma that believes that he can make them stars if he produces a record on them. He’ll keep in touch with them before beginning record them. Dupri’s father Michael Mauldin, an executive at Columbia Records will give the young duo their name, dubbing them Kris Kross after the look that Dupri has cultivated for them wearing their baggy clothes backwards. They’ll cut a demo that includes the track “Lil Boys In Da Hood”. The song will attract the attention of Ruffhouse Records founder Joe Nicolo, who will sign him to the Columbia Records distributed label. Released in early February, the single will initially languish for its first month in stores until it receives an unexpected boost after the duo performs the song on the March 29th episode of “In Living Color”. The single will enter the Hot 100 at #61 on April 4th and rocket to #1 just three weeks later. “Jump” will be certified 2x Platinum in the US by the RIAA, driving sales of their debut album “Totally Krossed Out” to 4x Platinum.
God I’m so old.
When I’m looking past the silken sheets
Take a breath to notice I’m between
Every little piece of threaded memories
That constitute your dreams
If I wake in the morning
I only need two more miracles to be a saint
Everything I promised everyone I’d be
Well I just ain’t.
Less than 2 weeks until NYC!! March 24 @ the Highline Ballroom with Shira E!
I turned water into wine I turned impossible into fine And I turned someone into mine
Here’s Looking at You, Kid - The Gaslight Anthem (acoustic)
You can tell Gayle, if she calls,
That I’m famous now for all of these rock and roll songs.
And even if that’s a lie, she should’ve given me a try.
When we were kids on the field of the first day of school.
I would’ve been her fool.
And I would’ve sang out your name in those old high school halls.
You tell that to Gayle, if she calls.
And you can tell Jane, if she writes,
That I’m drunk off all these stars and all these crazy Hollywood nights.
And that’s a total deceit, but she should’ve married me.
And tell her I spent every night of my youth on the floor,
Bleeding out from all these wounds.
I would’ve gotten her a ride out of that town she despised.
You tell that to Janey, if she writes.
But boys will be boys and girls have those eyes
That will cut you to ribbons sometimes.
And all you can do is just wait by the moon
And bleed if it’s what she says you oughta do.
You remind Anna, if she asks why,
That a thief stole my heart while she was making up her mind.
I heard she lives in Brooklyn with the cool,
Goes crazy over that New York scene on 7th Avenue.
But I used to wait at the diner, a million nights without her,
Praying she won’t cancel again tonight.
And the waiter served my coffee with a consolation sigh.
You remind Anna, if she asks why.
Tell her it’s all rigtht.
You know it’s hard to tell you this.
Oh it’s hard to tell you this.
Here’s looking at you, Kid.