Jack White Announces New Album, Lazaretto

Jack White

Jack White

 

Listen to new track, High Ball Stepper, now…

JACK WHITE HAS announced details of his new album, Lazaretto, the follow-up to 2012′s Blunderbuss – MOJO’s Album Of The Year.

Lazaretto will be released via White’s Third Man Records on June 9. A limited edition Third Man Vault edition of the album will feature a tasty blue and white split-colour 12-inch vinyl alongside a 7-inch demo of two Lazaretto album tracks and a 40-page hardback book containing lyrics and photos.

Check out new instrumental album track, High Ball Stepper, below:

Watch: R.E.M. members and Joseph Arthur cover Lou Reed’s “Walk on the Wild Side” on Letterman

R.E.M.

R.E.M.

 

David Letterman may have announced his retirement from the Late Show yesterday, but it was Lou Reed that last night’s musical guests paid tribute to. Singer-songwriter Joseph Arthur, R.E.M.’s Peter Buck, and Mike Mills — whose tweet heard ’round the world was the first to break the Letterman news — came together to perform a poignant cover of Reed’s classic “Walk on the Wild Side”. Watch the replay below.

 

 

Arthur will release his Lou Reed tribute album, simply titled Lou, on May 13th through Vanguard Records.

Meanwhile, as Slicing Up Eyeballs points out, Mills’ appearance on the show is rather fitting, considering R.E.M. made their television debut on Letterman’s old program, Late Night with David Letterman, back in October 1983. Revisit that performance below.

 

Remembering Kurt Cobain: Why People Kill Themselves

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With the 21st anniversary of Kurt Cobain’s on April 5, we’d like to celebrate the musician’s vast contributions to music and popular culture.

Cobain was featured on the cover of Newsweek’s April 18, 1994, issue as part of a larger story about the root causes of suicide. From “The Mystery of Suicide,” by David Gelman:

The road to self-destruction starts with depression and ends in the grave. But who chooses to die and why? Is it stress? Brain chemistry? A despair rotting the soul? The answers are as varied as the weapons.

kurt-cobain-e1396621300826            The body of Kurt Cobain as found by police.

Gelman spoke to Seattle locals about Cobain’s too-early passing. College student Chris Dorr, 23, found it almost clichéd: “It makes you wonder if our icons are genetically programmed to self-destruct in their late 20s.”

Below is the 1994 eulogy, a feature that ran alongside Gelman’s story.

The Poet of Alienation: Cobain’s corrosive songs defined a generation

He’d come to install an alarm system. The irony is that long before electrician Gary Smith found Kurt Cobain’s body, it was clear that what Nirvana’s singer really needed protection from was himself. Cobain wasn’t identified for hours, but his mother, Wendy O’Connor, didn’t need anyone to tell her that it was her son who was found with a shotgun and a suicide note that reportedly ended, “I love you, I love you.” The singer had been missing, and his mother had feared that the most troubled and talented rock star of his generation would go the way of Jim Morrison and Jimi Hendrix. “Now he’s gone and joined that stupid club,” she told The Associated Press. “I told him not to join that stupid club.”

Cobain didn’t overdose like Morrison and Hendrix, of course. But the singer’s self-destruction streak seems to have been bound up inextricably with drugs. In March, while in Rome, Cobain overdosed on painkillers and champagne. Nirvana’s spokespeople insisted that it was an accident, portraying Cobain and his wife, Courtney Love, as stable, happy parents whose drug days were behind them. But the truth about Cobain’s last months was far messier than we’d been led to believe.

On March 18, Cobain reportedly locked himself in a room of his spacious Seattle home and threatened to kill himself; Love is said to have called the police, who arrived on the scene and seized medication and firearms. On April 2, the police were summoned once more—this time by O’Connor, who told them her son was missing. The rumor mill has it that Cobain and Love’s marriage was on the rocks, that his friends performed an “intervention,” and that while Love was promoting a new album by her band, Hole, Cobain was fleeing a rehab clinic in Los Angeles.

According to the AP, O’Connor’s missing person’s report read, in part, “Cobain ran away from [a] California facility and flew back to Seattle. He also bought a shotgun and may be suicidal.” All these dark machinations will make for an uneasy legacy—precisely the sort of legacy he didn’t want. “I don’t want my daughter to grow up and someday be hassled by kids at school,” he once said of Frances Bean Cobain, then 19 months. “I don’t want people telling her that her parents were junkies.”

Which raises a question: What will they tell Frances Bean? Where her father’s career is concerned, at least, the answer is reassuring. They’ll tell her Cobain and his band hated the slick, MTV-driven rock establishment so much they took it over. They’ll tell her that with the album Nevermind, Nirvana replaced the prefab sentiments of pop with hard, unreconstituted emotions. That they got rich and went to No. 1. That they were responsible for other bands getting rich and going No. 1: Pearl Jam, Soundgarden, Alice in Chains. That Cobain never took his band as seriously as everyone else did—that he once wrote, “I’m the first to admit that we’re the ’90s version of Cheap Trick. But that despite his corrosive guitar playing, he wrote gorgeous, airtight melodies. That he took the Sex Pistols’ battle cry “Never Mind the Bollocks,” mixed it with some twenty-something rage and disillusion, and came out with this lyric: “Oh, well, whatever, never mind.” And, finally, that he reminded his peers they were not alone, though all the evidence suggests that he was.

Cobain was born just outside the desultory logging town of Aberdeen, Wash., in February 1967. (Yes, he was 27, as were Morrison, Hendrix and Joplin.) The singer hated being the crown prince of Generation X, but the fury of Nirvana’s music spoke to his generation because they’d grown up more or less the same way. Which is to say, grunge is what happens when children of divorce get their hands on guitars. Cobain’s mother was a housewife; his father, Don Cobain, was a mechanic at the Chevron station in town. They divorced when the singer was 8.

Drugs and punk: Cobain always had a fragile constitution (he was subject to bronchitis, as well as the recurrent stomach pains he claimed drove him to a heroin addiction). The image one gets is that of a frail kid batted between warring parents. “[The divorce] just destroyed his life,” Wendy O’Connor tells Michael Azerrad in the Nirvana biography Come as You Are. “He changed completely. I think he was ashamed. And he became very inward—he just held everything [in]…. I think he’s still suffering.”

As a teen, Cobain dabbled in drugs and punk rock, and dropped out of school. His father persuaded him to pawn his guitar and take an entrance exam for the Navy. But Cobain soon returned for the guitar. “To them, I was wasting my life,” he told the Los Angeles Times. “To me, I was fighting for it.” Cobain didn’t speak to his father for eight years. When Nirvana went to the top of the charts, Don Cobain began keeping a scrapbook. “Everything I know about Kurt,” he told Azerrad,” I’ve read in newspapers and magazines.”

The more famous Nirvana became, the more Cobain wanted none of it. The group, whose first album, 1989’s Bleach, was recorded for $606.17 and released on independent label Sub Pop, was meant to be a latter-day punk band. It was supposed to be nasty and defiant and unpopular. But something went wrong: Nirvana’s major label debut, Nevermind, sold almost 10 million copies worldwide. On the stunning single “Smells Like Teen Spirit,” Cobain howled over a sludgy guitar riff, “I feel stupid and contagious/Here we are now, entertain us.” This was the sound of psychic damage, and an entire generation recognized it.

Nirvana—with their stringy hair, plaid work shirts and torn jeans—appealed to a mass of young fans who were tired of false idols like Madonna and Michael Jackson, and who’d never had a dangerous rock ‘n’ roll hero to call their own.

Unfortunately, the band also appealed to the sort of people Cobain had always hated: poseurs and bandwagoneers, not to mention record company execs and fashion designers who fell over themselves cashing in on the new sights and sounds. Cobain, who’d grown up as an angry outsider, tried to shake his celebrity. “I have a request for our fans,” he fumed in the liner notes to the album Incesticide. “If any of you in any way hate homosexuals, people of different color, or women, please do this one favor for us—leave us the f—k alone!… Last year, a girl was raped by two wastes of sperm and eggs while singing…our song ‘Polly.’ I have had a hard time carrying on knowing there are plankton like that in our audience.”

By 1992, it became clear that Cobain’s personal life was as tangled and troubling as his music. The singer married Love in Waikiki—the bride wore a moth-eaten dress once owned by actress Frances Farmer—and the couple embarked on a self-destructive pas de deux widely referred to as the ’90s version of Sid and Nancy. As Cobain put it, “I was going off with Courtney and we were scoring drugs and we were f—king up against a wall outside and stuff…and causing scenes just to do it. It was fun to be with someone who would stand up all of a sudden and smash a glass on the table.”

In September ’92, Vanity Fair reported that Love had used heroin while she was pregnant with Frances Bean. She and Cobain denied the story (the baby is healthy). But authorities were reportedly concerned enough to force them to surrender custody of Frances to Love’s sister, Jamie, for a month, during which time the couple was, in Cobain’s words, “totally suicidal.”

Tormented rebel: By last week, the world knew Cobain has a self-destructive kurt-cobain-guitarstreak, that he’d flailed violently against his unwanted celebrity—but the world had been assured that those days were over. Nirvana recently postponed its European concert dates and opted out of this summer’s Lollapalooza tour. Still, spokesmen maintained that Cobain simply needed time to recuperate from the overdose in Rome. They offered a tempting picture: Cobain the tormented rebel reborn as a doting, drug-free father. Even Dr. Osvaldo Galletta, of Rome’s American Hospital, says he believed the overdose was an accident: “The last image I have of him, which in light of the tragedy now seems pathetic, is of a young man playing with the little girl. He did not seem like a young man who wanted to end it. I had hope for him. Some of the people that visited him were a little strange, but he seemed to be a mild sort, not at all violent. His wife also behaved quite normally. She left a thank-you note.”

It’d be nice if we, too, could come away with that image of Cobain and his Kurtand daughterdaughter. And in truth, those who knew the singer say there was a real fragility buried beneath the noise of his music and his life. Still, there are a lot of other images vying for our attention just once. Among them is the image of Courtney Love and Frances Bean Cobain, who are said to have arrived at their home in Seattle, via limo, late Friday. Again: What will people tell Francis? Ed Rosenblatt, Geffen Records president, says, “The world has lost a great artist, and we’ve lost a great friend. It leaves a huge void in our hearts.” That is certainly true. If only someone had heard the alarms ringing at that rambling, gray-shingled home near the lake. Long before there was a void in our hearts, there was a void in Kurt Cobain’s.

Violations on artistic freedom of expression in 2013 – By Arts Freedom

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Freemuse monitored and documented violations on artistic freedom of expression on artsfreedom.org in 2013. The compilation presents a glimpse of repression of artistic freedom worldwide in 2013 and includes cases from 48 countries across the fields of dance, film, music, theatre, visual arts and literature (journalists not included) as they were documented on artsfreedom.org

The statistics present an overview of the situation for artists worldwide who were:

– Killed
– Imprisoned
– Detained
– Prosecuted
– Abducted
– Attacked
– Threatened/persecuted
– Censored

A total number of 199 cases of attacks on artists and violations of their rights have been registered. The cases include 19 artists being killed, 27 newly imprisoned, 9 imprisoned in previous years but still serving time, 8 abducted, 3 attacked, 13 threatened or persecuted, 28 prosecuted, 19 detained, as well as 73 cases of censorship.

» Artsfreedom Newsletter no. 2: Reflections over the statistics
http://www.artsfreedom.org/?p=6992

The statistics are based on reports published on artsfreedom.org in 2013 and include incidents taking place during 2013. They are not a complete survey and do not give full picture of the situation globally; they only represent the tip of the iceberg. Many artistic freedom violations are never made publicly known – whether they include the thousands of artists – not least musicians – who experience daily threats from fundamentalists in Northern Mali, Khyber Pakhtunkhwa (KP) and the Federally Administered Tribal Areas (FATA) of Pakistan or are victimised by the internal conflicts of Syria or Sudan.

Neither does the statistics necessarily include all cases presented by PEN international Writers in Prison committee which has produced an extensive case list and statistics concerning violations committed against writers as well as journalists.

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The following principles of statistical registration have been used:

If an artist is threatened and attacked while abducted the case is only listed as “abducted” in the statistics. If an artist is detained, prosecuted and then consequently imprisoned for the same incident the violation is only listed as “imprisoned”. E.g. when the Danish poet Yahya Hassan received death threats for his poems collection and later was physically attacked the series of events is only listed as one incident under the “attacked” category.

“Attacked” refers to an artist being physically attacked.

Imprisoned artists are divided in two categories. Artists who were sent to prison in 2013 are listed in the category “newly imprisoned”. Artists who were imprisoned before 2013, but who remained in prison during 2013 are registered in the statistic category “still imprisoned“.

The “censored” category contains various kinds of incidents such as concerts being stopped and fans arrested, films, books and music being censored and banned and works of arts being removed from exhibitions.

Iran: Signals of growing musical freedom of expression – By Freemuse

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With women singing on stage and a playlist of Western pop songs sung in English during performances of ‘The Last Days of March’ in Tehran, Iranian musicians are breaking new ground, reported Scott Peterson for Christian Science Monitor.

Musicians and actors say that Iran’s culture space has opened up noticeably under the centrist President Hassan Rouhani, who was elected last year. The article by Scott Peterson highlights a number of new developments in the country. For example:

“Exhibit A is a groundbreaking show that just finished a 20-gig run in Tehran’s renowned Vahdat Hall. Redefining what is acceptable on stage, women sang solos; Western songs filled the playlist, from John Lennon to Frank Sinatra; and most lyrics were in English.

Audiences who crammed into the plush multi-story theater gasped at the spectacle, some singing quietly along as the lead female vocalist – wearing a maroon head scarf that fell to her waist – belted out Amy Winehouse’s “Back to Black.”

“From the third night, ticket sales shot up. People were very surprised… we could have doubled the run,” says Behrooz Saffarian, the musical director.”

Iran begins to rock out
In 2008, Iran banned all pop music. But a recent female solo performance signals growing freedom in a country where heavy metal musicians have been told to stay seated on stage. Article by Scott Peterson

Photo above: Courtesy of Ehsan Neghabat