The Eversons are New Zealand’s answer to Pavement, 90’s rock radio, and liberals (fuck those flaking liberal dicks).The Eversons – I’m a Conservative
If only I lived in a universe where every time Bruno Mars’ “The Lazy Song” (maybe the worst top 10 song EVER) came on the radio something by fellow Hawaiian Anuhea would play instead. Here, the soulful Maui native does her take on Estelle’s “Come Over Love” adding acoustic guitar and a smoothed out island feel.Anuhea – Come Over Love (Estelle Cover)
I once said to my ex that the most empowered I ever felt at Get Right (a testosterone-laden club night we’d go to in Columbus, Ohio) was the time the DJ played “Single Ladies.” While the playlist for the night ranged from Pac & Dre’s “California Love,” an inexplicable favorite for a place extremely far from its setting, to Pharoahe Monch’s “Simon Says” to 8ball & MJG’s “Alcohol Pussy Weed”, Beyonce’s kiss off to a dude who didn’t realize how good he had it was an anomaly.
Until it reached its saturation point (Liza Minelli’s cover in Sex and the City 2 being my own personal node), I loved that song. It said everything about being an unattached woman in the 21st Century that is capable of being said in a pop song, and it came from a long line of Beyonce-penned anthems that sought to do the same thing. While I don’t include “Single Ladies” in my trinity of Beyonce empowerment, it sets the tone.
For the genesis of her triple threat, I have to go back to 2000. Destiny’s Child’s “Independent Women (Part I),” while a shill for the Charlie’s Angels sequel, was a more succinct version of ideas bandied about in “Survivor” and “Bills Bills Bills”. Not only could women get over some lame dude who wasn’t worth trashing on the internet, she could also pay all the bills and profit, buy her own rings and her own home. “It ain’t easy bein’ independent,” Beyonce confesses, but that struggle was way more worth it than the flip side of being beholden to a man. While Destiny’s Child were in their early 20s at the time, they shed the idea of being girls for full-fledged womanhood; this becomes peculiar as later songs revert to the diminutive.
In 2008, having launched her solo career, Beyonce released “Diva” as a single following the proliferating success of “Single Ladies.” because Beyonce and Jay-Z are inextricably linked in my mind, I always think of this track as the companion to “Dirt Off Your Shoulders.” ladies aren’t pimps, Jay – “a diva is the female version of a hustler.” While this song commands in a way her other tracks don’t, the message is the same: “I did this myself and I didn’t need a man for it.” (He better not show up without a six pack though.) While I wouldn’t necessarily want to be called a diva in the way that is punishing for women, the point is made.
That’s what I find so puzzling about 2011’s “Run the World (Girls).” In a way, this escalates the tone of “Diva”; it implies that women are not only running shit, but the invocation of the Goodfellas classic “fuck you pay me” adds an attitude she hasn’t copped really ever. In a decade, Beyonce has gone from celebrating her ability to profit dollars to demanding you respect her or she’ll come at your neck. I don’t blame her; for as much as I hear the term “post-feminism” bandied about I know that isn’t the world Im living in, and apparently B knows that too.
The true conundrum to me is the use of the world “Girls” – if this were a song meant for tweens (who will undoubtedly really enjoy that version lacking Ray Liotta’s famed quote), I’d get it, but that’s not where she is now. She’s cursing. She’s a livewire. Even today, the hairpin discusses the use of the world girls when referring to women. I understand the pop sensibility behind using “Girls” – it’s less syllables, it vaguely rhymes with “world”, and maybe using “babes” was out of the question. I just can’t get behind “Run the World” in the way i could with “Independent Women” and even “Diva”; I don’t want to be in an army of girls. I’m a grown-ass woman, and so is Beyonce.
Obviously, this is no gross misstep on B’s part. It could be so much worse than deference to the world “Girls” over “Women.” I’m not trying to start any infighting among a group that needs solidarity to fight for equality, not splintering. Her message has been consistent the whole time; it is only the language around it that shifts. If “Run the World” helps advance what the former two singles laid the groundwork for, namely the respect and autonomy of women, I can’t be held up in being put off by the usage of “Girls.” If I heard it on the dance floor in between any of the songs at get right or any other male-dominated club night, I’d be just as empowered.
Contributed by Erin RoutsonDestiny’s Child – Independent Women, Part I Beyonce – Diva Beyonce – Run the World (Girls)
Looks like somebody stuck a quarter or two into these geezers as “Major Minus” is fucking great. This is totally what that shitbrick X&Y should have sounded like. The band sounds focused. The writing here is sharp; the melodies, the instrumentation, the rhythms, etc. Good on ya, Coldplay. It’s nice to have you blokes back.Coldplay – Major Minus
One of my favorite things to to discover a great new band when I’m at a venue to see someone else. That’s how I found The Postelles last year. About all I knew at that point was that they were discovered and produced by Albert Hammond, Jr. of The Strokes. I figured I’d stay for a song or two, and wound up wishing their entire set was longer. They have a definite melodic consistency. The Strokes themselves will probably never return to their early freshness, but what we get from these New Yorkers is much of that same vibe, only somewhat more pop.
Contributed by Bruce Rave
Catch Bruce on Moheak Radio Fridays 1-3pm PST
The Bottletop Band are a U.K.-Brazil charity act comprised of some serious heavy hitters of British music, members of Arctic Monkeys and Babyshambles, Gruff Rhys from Super Furry Animals. New track “One in a Million” features a sultry laid back vocal from our girl Eliza Doolittle. Eliza’s syrupy stylings command a dub-influenced heavily syncopated track.
The Bottletop Band – One In A Million
“Euthanizing a Dream” is the latest heater from San Jose artist NiT GriT. The track is very very melodic and will likely have heads of even the filthiest of dubstep vibing along. Into it.NiT GriT – Euthanizing a Dream
MeLo goes in on Quadron’s excellent “Average Fruit” from ’09. Adding a kinetic bassline, and a lights down 3AM feel to the instrumentation, the track plays like the ride home, the punctuation on a good evening well shared. p.s. Check the Dr. Woo-directed vid too. Too dope.MeLo-X – Heartbeat (Quadron Remix)