Irritating, maybe. But homophobic? I’m not convinced…

No Electric Picnic for me, so I’m planning on trolling updating the Anablog for the next few days, while the rest of the “team” queue for the toilets and drink overpriced beer at the event itself. Festivals are overrated anyway aren’t they.

[youtube:http://www.youtube.com/watch?v=NoKPi8xtyjA]

If you’ve been living in a ditch, or are a “proper music” bore and believe that pop music is beneath you, then it may have escaped your attention that Katy Perry’s “I Kissed A Girl” has thus far spent three weeks at number one in the UK. I quite like the single I must say, but not everyone will agree. In recent weeks the song has been played constantly on daytime radio, on MTV Hits and The Box, in supermarkets, in clothes shops, in cars and bars - and nobody likes an overexposed pop song. What’s more, “I Kissed A Girl” has prompted accusations of homophobia. The song may be irritating, the video may play up to every Zoo magazine lesbo-fantasy in the book, but is it really homophobic? I think this is pushing things a bit.

The phrase “lipstick lesbianism” has become quite the popular alliterative put-down of choice over the past decade or so. I dislike the phrase, because of its snotty undertones, but I’m talking about girls who are to all outward appearances “straight” (as if outward appearances count for anything in the world of sexuality), publicly snogging other girls for whatever reason - expressed or otherwise. Perhaps it is fair to attack public girly snogs, if such displays merely exist for the voyeuristic pleasure of blokes. That’s already to make a bit of an assumption, I’d say. Maybe it is just attention-seeking, but is it homophobic? What is the point of protest? It does all seem to spin on the idea that there is such a thing as a “proper lesbian”. This single isn’t pushing the sort of ideas Luce Irigaray espouses, I’ll grant you. The singer of “I Kissed A Girl” does add “I hope my boyfriend don’t mind it”, and wakes up in bed beside the chap at the end of the video, in true secondary-school essay “It was all a dream!” style. For some people all of this will scream “I’m not gay by the way!” But I’m sure we all know plently of people who have “experimented” with members of their own gender, and who don’t feel the need to label themselves as “gay”, “straight” or “bi” or any other category. The line “it felt so wrong/ It felt so right/ Don’t mean I’m in love tonight” also seems harmless enough to me. It’s flighty and cheeky, kissing as harmless fun. That’s all the “lipstick lesbian” phenomenon is. I don’t believe it makes life more difficult for LGTB people. I think the real bone of contention is that some straight men are turned on by lesbian fantasies (always involving very feminine looking lesbians natch). So it involves the sexual objectification of women - is it misogynistic? Just about any hetero-male fantasy is going to be misogynistic by that account - unless you get your kicks out of thinking about the sufragette movement or by reading “The Female Eunuch”. Isn’t the area of sexual drives, fetishism and fantasy always going to be dark and unsettling to some degree? Or am I just a perv?

The accusations of homophobia against “I Kissed A Girl” smack of a new puritanism to me. Perry’s previous single was of course a thing called “Ur So Gay” (”gay” having become a synonym for “lame” or “naff”). You could chart the etymology of the word like you can a single climbing or sliding down the pop charts. The “Brights” movement, a bunch of people who champion what they call reason over what they call superstition (and for these people this includes religion), and involving Richard Dawkins and Daniel Dennett among others, has sought to claim the word “bright” in much the same way that homosexuals adopted the word “gay” in the last century. Again, I am not conviced that even “Ur So Gay” is really homophobic. The argument is an interesting one and I’m open to it, but if you want to convince me that the use of such phrases is homophobic, then we’ll have to get into the intentionality behind it. I suspect that Katy Perry’s religious (Christian) upbringing has a lot to do with how people hear her recent singles. But I think a point is being missed. “Lipstick lesbianism” is a cultural phenomenon. There is a song about it. It doesn’t go any deeper than that.

Mind you, if her next single is a collaboration with Beenie Man, it might be time to worry. (But stranger things have happened - according to Planet Sound Roots Manuva and James Blunt are about to record together. This is great news, if only because it’ll force the “James Blunt, anyone?” brigade to think for a change.)

Every Little Helps With Live Nation

Illustration: Aaron Taylor

At this exact moment Madonna is about to wow fans in Berlin with her Sticky and Sweet tour, a tour that will no doubt make a shed load of money and make her new partners Live Nation very happy if not relieved. Madonna herself will have every reason to be smug sitting on a new record deal from the very generous pockets of Live Nation, the events company based in California. At a reported $120 million it is a vast sum to pay to someone in an industry shaken to the core by illegal downloading and where artists like Prince give away albums in daily papers. However to call it a record deal would sell the term short for this is no normal four album advance contract. Commonly known as a ‘360 Degree Contract’ in the music industry, Live Nation gets a percentage of all the other ancillary revenue by the artist from t-shirt sales to Tour revenue. The deal also locks the artists involved to Live Nation’s ticketing service, which in the future will probably be the only place one can buy a ticket to their future tours.

Live Nation haven’t been coy about their unorthodox approach, one which has yet to be financially proven. Like a Russian oligarch at an art auction they have waved virtual blank cheques at some of the largest artists in music today with almost adventitious haste. Jay Z signed on the dotted line a deal worth $150 million, Shakira and Nickelback for around half that, while our very own U2 signed a few months back on an undisclosed deal reputedly worth more than $300 million over 12 years. Such vast sums thrown at already insanely wealthy established artists has made many sit up and openly question the financial viability of it all. If in the last financial year Live Nation lost close to $12 million dollars,how can it justify such sums? The music industry is a frustratingly low margin business. However Live Nation sees a future quite different to today. To concentrate on one aspect of the industry they feel is dangerous and in the digital age may lead to financial ruin. Where bands have become adept at using the internet and social networking, learning the ropes on their own on how to promote themselves the days of EMI and Warner as we see them today could be over very soon.

Live Nation anticipates synergies in combining the revenues of merchandising, music publishing and sponsorship. Linking them all into its already established ticketing business these Young Turks plan to transform the music business. They also firmly believe that by signing up the largest artists in the world today now in such deals before anyone else they will reap the profits from the whirlwind of change they themselves have created. While many in the music business stare in bemusement or grumble that it will all fail, many artists are very happy with their new deals. Is this a result of these artists simply inebriated by all this new money? Have they been foolishly swayed by the smell of crisp dollar notes without thinking? Probably not for many of them are experienced, proven and successful businessmen and women in their own right. Jay Z has businesses ranging from his own record label to clothing worth hundreds of millions of dollars while U2 have been savvy (or greedy depending on your own personal opinion) enough to move their holding company to the Netherlands to avail of lower taxes. U2 on the signing of their deal with Live Nation released a statement saying “The opportunity to integrate U2 and Live Nation’s vision of the future is a great extension to our established business”.

Established is an apt term for these Live Nation deals. The company have stuck to well established artists, who have proven adept at making money through touring and merchandising and not just record sales. Live Nation will not get involved in the business of finding new artists - which at times can be painful and loss making. With the live music industry booming (Shakira’s “Oral Fixation” tour alone made over $100 million) and sponsorship a well known means of pocketing a lot of money, garnering a sizeable percentage of this cash in the future will hopefully in the eyes of Live Nation make their mouth wateringly big deals make a hefty return. Newer artists may feel a bit left out by the new 360 Degree contracts; with their own record companies being sapped of their cash cows their position could look a little more worrisome. With Live Nation unwilling to invest in new and emerging artists and their own record companies seeing their revenues reduced investment may dry up. This is an unfortunate situation for the music industry overall but one which through technology many bands are adapting to through use of communication technologies.

While Live Nation has to be commended by taking a bold step, diving into the fires of the musical revolution and stealing the family jewels it will have to wait a long time for their deals to bear fruit. There is also the fear that the live music industry will implode and become just a victim of fashion. Ticket sales, already insanely high could become too much for a world already tightening the belts and bracing for recession. Merchandising and sponsorship could easily go the same way too. In the end Live Nation could be left with the old publishing revenue that todays record companies rely heavily on and debts to rival Third World Nations. Will Bono help them then? Lets see in 10 years time….

Electric Picnic Timetable

Electric Picnic 07 - photo by Eoin O’Braoin

Not sure if this is the official Electric Picnic timetable or not but it looks fairly right to me. Download it from here.

The argument about the delay of the official timetable is still going on over at Jim’s blog.

The Next Big Thing

The Ben Folds/Regina Spektor collaboration has been out and on the internets for a while, but I finally heard the non-leaked version the other-day. I’m a little disappointed. What I thought would sound like this, actually sounds a little more like this:

[youtube:http://www.youtube.com/watch?v=Jq4mNU0qrlk]

That’s not to say the track is heinous. It’s quite lovely. Thing is, it’s just neither as pop-orientated or as quirky as I’d've hoped for from Ben ‘n’ Reg. Thank goodness then, for the youth of today. When all else fails, a bassoon, keytar and djembe trio can always liven up the proceedings.

[youtube:http://www.youtube.com/watch?v=yyhw658SYAM]

I can’t decide whether my favourite member is the bassoonist dressed as Pauly Bleeker, or the be-hooded Regina-stand-in djembe-ist, clutching a lyrics sheet in his hand, before throwing it away to rock out. Also, they have the best end to a video, ever:

‘Not bad’
‘Not bad at-fucking-all’

Proof, if anything, that music lessons WILL pay-off. No matter how bizzarre the instrument.

All issues of Analogue now on Issuu

Open publication

I finally got around to cropping the first issue of Analogue and uploading it to Issuu.com. This site is great, it allows you to flick through a virtual magazine online. Through Issuu Analogue has reached over 30,000 new readers worldwide.

Check out our other issues on Issuu!

CSS; Pants!

I’m on a charity buzz this week. There’s much to buzz about, I suppose. I went jumble sailing yesterday, round George Street and up to Capel Street. Then I spotted this lot in my favourite rag. Whilst I’m sure there’s only a relatively limited audience for Adriano’s pants, but they’re bound to be rabid. Bids at the charity auction are currently at 10 pounds sterling. Other highlights are Sir Ian McKellen’s fabulous shoes and a signed script from the Office.

But for music fans there’s only one item (obviously Pete Waterman’s crap donation of a crap cd aside). Go on, reach deep for CSS’s pants.

ps, please note that these are not actually pants, but are in fact vintage fila shorts, signed by the band. But they did belong to Adriano.

New Roots Manuva Is Deadly

Just a quick one: I’ve been listening to Roots Manuva’s new album Slime and Reason for Analogue. It’s seriously good stuff. Have a listen to the infectious opening track ‘Again and Again’, complete with cricket-themed video. Most of it isn’t this fun, but hey, it’s still summer for a few days.

[youtube:http://www.youtube.com/watch?v=FRxYNTH-5Go]

Forget Sex Pistols, it’s all about The Clash!

With four days to go, the first unofficial timetable for Electric Picnic has hit the internet. First of note is the inclusion of The Cosby Stage, where it seems most of the non-Bodytonic dance acts will be playing. Next up, which will no doubt be of much concern to many attending the festival (especially considering the crush at the first Beastie Boys show last year), is that My Bloody Valentine will be playing in the Electric Arena. While theirs is a show which will fit best indoors, it is quite likely that a high proportion of the 32,000+ in attendance will be hoping to see this act. I’m not sure exactly how many people can fit in the Electric Arena, but I can comfortably predict that there will be a lot of disappointed people in Stradbally on Sunday night.

On a personal note, I see the following as unfortunate clashes: on Friday Berlin techno heads Booka Shade battle with fellow countrymen Digitalism, and then Icelandic warblers Sigur Ros take to the main stage while electro hero Tiga kicks out some tunes over on the Cosby Stage. That said, something about Sigur Ros’ main stage performance performance at Pukkelpop last week left me feeling cold, so I may just go with Tiga this time around.

Saturday is largely clash-free (for this writer at any rate), although I will have to miss the opening of Cut Copy’s set while Wilco finish theirs, and, having seen Santogold within the last fortnight, it’ll be Underworld for me. A-Trak closes the Cosby Stage at 2AM, but George Clinton, who starts at the same time, has a thee hour set, so I think in this case I’ll be aiming for an hour and a half of each.

Sunday is where the biggest of problems lie. The day is fine, a wander here, a gaze there, until just before 11PM, when I will be forced to choose between Conor Oberst and Chromeo. This is, surely, too much for any man. Music for the feet or for the heart? Why must I choose?! This is also discounting the Bodytonic lineup, which has yet to be revealed. I gather Diplo and Modeselektor will also be straddling this particular time slot, so I can only imagine that there will be even more clashes once Bodytonic’s timetable is released. But hey, you leave yourself open to these things when you decide to go to a festival. See what you can, and have no regrets! Oh and bear in mind that these things are always subject to change…

DJ for your friends with Blip.fm

New music sharing service Blip.fm bills itself as Twitter for music. Really it’s not. Like twitter it allows brief posts to be quickly shared between friends. Unlike twitter the service doesn’t provide for posting (or receiving posts) via SMS. That’s sort of immaterial, because what Blip does do is freaking awesome. Once you’ve created an account on the service, you carry out a search for the artist or song of your choice (so far almost everything I’ve looked for has been found - and you can upload your own music if a track’s missing), hit ‘blip’, add a brief text message and click ‘ok’. Instantly, not only are you listening to the song you’ve chosen, but you’re also acting as a time shifted DJ for anyone who adds you as a friend. Sure the service will likely face the chop, from a terrified, backward and thankfully dying music industry - like the much loved muxtape, but right now it acts as the slickest, fastest and most fun way ever to be an online DJ. Most of the time you don’t have to upload anything - you can play music for your friends anywhere in the world with a wee search, a little comment and a click.

But that’s not all folks, as blip.fm also connects with your last.fm account - allowing you to share all the songs you scrobble with a click. The site will also syndicate your played songs on twitter and a variety of other services should you choose to do so (not recommended).

Join Blip.fm now.

The Composer Seduced into Carpentry

Outsider composer Harry Partch abandoned a university musical education, lived as a hobo for ten years in depression era America, and wrote an opera based on Yeat’s translation of Sophocles’ Oedipus the King. At an early age Partch forsook the ‘dead, white, middle class musical tradition’ and the Western system of musical notation; developing new scales (including a 43 tone scale, with 43 notes per octave rather than 12!), inventing new methods of musical transcription, and constructing instruments which could ‘capture the melodic contours of dramatic speech’.

Above is a youtube playlist featuring a fascinating BBC documentary on the composers life, music and influence. To quote the documentary ‘[Barstow] created an obscure, strange, difficult but always fascinating musical universe in an attempt to exist apart from the modern world’. Radicalised by his homosexuality, Partch remained apart for much of his life from even the radical fringes of the classical establishment, obsessively studying the musical notation and instrumentation of ancient civilisations, building his instruments and composing pieces to express their radical capacities.

Partch’s influence can be seen today in a variety of contemporary experimental composers, in radical outsider musicians like Jandek who record and perform using microtonal tunings, and in the continued construction of custom instrumentation to achieve previously impossible ranges of sound. You can read more about Partch and one of his most accessible works, ‘Barstow‘ appropriately enough on another anablog - this one written by the Analog Ensemble. You can also hear clips of a variety of versions of Barstow, on Corporeal.com.

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