One man’s journey to title someone else’s music.
In accordance with my role as new music’s self-appointed DARE officer, I want to look at the use of a drug that has a clear, quantifiable impact on a singer’s ability to perform: cortisone.
Ask someone to name their favorite composer and I’d guess that those who don’t give you that baffled “what’s-a-composer” look will inevitably mention someone both long-dead and from another country.
Part exorcist, part Pentecostal channeler, part Antonin Artaud, part Tibetan monk chanting “om” sound-processed to glass-shattering decibels, the regal, Goth-like Galás in Imitation of Life is the incarnation of the mythological Lilith, the she-demon as singing shaman.
It’s a long, strange trip.
The impact of being an artist under the influence of Japan.
Sometimes I wonder if I only in order to have a reason to beget that awesome title I just came up with.
It seems that lectures, interviews, and talk radio fulfill many of the same nodes in me that recorded music does, at least in a passive-listening context.
I’m always trying to subject myself to music that I think I won’t like or re-subject myself to music that I haven’t liked upon a previously.
Also possibly the all-American granddaddy of slam poetry and jazz vocalese, and a co-inventor (and practitioner) of Schoenbergian sprechstimme.