Beck – Audiofemme

HIGH NOTES: 9 Drug References in Lyrics You Probably Sang as a Kid

When you’re a teenager, you start to realize that a lot of the songs you liked as a kid were about sex. Then, when you reach your 20s, you start to realize many of them were actually about drugs. A lot of drug terminology can fly right over your head if you’re not a user and don’t know any users. But becoming familiar with a drug culture is sort of like learning a new word – suddenly, it’s everywhere.

“Sex, drugs, and rock and roll” famously go together, so it’s not surprising that many songs either are about drugs, were inspired by drugs, or mention drugs. Here are a few songs you listened to (and quite possibly sang along to) as a kid without ever realizing they contain drug references.

“Semi-Charmed Life” by Third Eye Blind

I remember humming along to the “do do do dos” in this song, not realizing that the rest of it included not only overt sexual references like “she comes over and she goes down on me” but also lyrics like “Doing crystal meth will lift you up until you break” and “then I bumped up, I took the hit I was given, then I bumped again.” Yup, this song is definitely about meth.

“There She Goes” by The La’s

Ever since I heard this song in The Parent Trap while Lindsay Lohan gets to know her long-lost mother, I thought it was a sweet tribute to some woman the songwriter loves. But said woman might actually be heroin. “She” is “racing through my vein” because the narrator has literally injected “her” into their vein, according to some interpretations. The band’s singer-songwriter Lee Mavers was rumored to have a heroin addiction, so you do the math.

“Burn One Down” by Ben Harper

You had to be pretty oblivious to miss this, but I was. I thought that what is now clearly a stoner anthem was just a song extolling a “live and let live” ethos and wanting other people to let you live, too. Which it is. But it’s also about the desire to “burn one from end to end.”

“Needle in the Hay” by Elliott Smith

You don’t need to understand the lyrics to know this song is depressing as hell. But once you do know that “6th and Powell” is an intersection in San Francisco where drug addicts hang out and “taking the cure” is a phrase used to describe heroin rehab in William S. Burroughs’ Junkie, it becomes even more sad. So let’s move on to something a little more light-hearted.

“Yoshimi Battles the Pink Robots” by The Flaming Lips

“Those evil-natured robots / They’re programmed to destroy us / She’s gotta be strong to fight them / So she’s taking lots of vitamins.” What fun imagery! Also, it’s highly likely that Wayne Coyne was on acid when he wrote this (or at least came up with the idea). He’s a fan of the drug, and the cover art for the song’s eponymous album features a girl (presumably Yoshimi) casting a bird’s shadow, as well as the number 25, potentially referencing the drug’s lab name LDS-25.

“Pepper” by The Butthole Surfers

Some have speculated that the lines “They were all in love with dying / They were drinkin’ from a fountain /That was pouring like an avalanche coming down the mountain” reference heroin. What we do know is that lead singer Gibby Haynes struggled for some time with a heroin addiction. Another fun fact: The band members “sprinkled LSD on their cornflakes every morning,” Mark Kramer, a former touring member of The Butthole Surfers, told Noisey.

“Loser” by Beck

In this social outcast anthem, Beck slips in lyrics like “Butane in my veins so I’m out to cut the junkie” and “One’s got on the pole shove the other in a bag with the rerun shows and the cocaine nose job.” Other lyrics like “With the plastic eyeballs / Spray paint the vegetables / Dog food stalls with the beefcake pantyhose” make you wonder if he was on drugs when he wrote it, but he’s actually anti-drug.

“Walkin’ on the Sun” by Smash Mouth

This sounded to my seven-year-old self like a fun song about space exploration, but it’s actually about the 1992 Los Angeles Riots, spurred by police brutality toward black taxi driver Rodney King, the band’s guitarist Greg Camp told Songfacts. “I’d like to buy the world a toke,” frontman Steve Harwell sings in reference to the chaos of the time; though he sees marijuana as a peace-maker, he warns about the perils of harder drugs with a prescriptive in the last verse: “Put away the crack before the crack put you away.”

“Tubthumping” by Chumbawamba

PSA: Alcohol is a drug. Once you understand that, it becomes clear that this is the most drugged-up song on the list. The British version of the album booklet reads, “‘Tubthumping’ is Shouting to Change The World (then having a drink to celebrate). It’s stumbling home from your local bar, when the world is ready to be PUT RIGHT…'” It then quotes Charles Baudelaire as saying, “It is essential to be drunk all the time” — or, as the band might put it, “pissing the night away” (nope, they’re not saying “kissing,” though Americans unfamiliar with the British slang phrase might have thought otherwise). Now that we’re older, hopefully we’ve learned that mixing whiskey drinks, vodka drinks, lager drinks and cider drinks is less a recipe for revolution than it is for a brutal hangover.

NEWS ROUNDUP: Princess Nokia a Soup-er Hero, Music Industry Assault Allegations & More

Princess Nokia Stands Up To Racist, Goes Viral

This week, a viral video showed NYC commuters standing up to a drunk guy on the train when he started yelling racist insults at a group of teenagers. At the end of the video, as he’s pushed out of the train car, someone launches a container of soup at them, covering them in yellow goo. It gets better: the hero in this story is rapper Princess Nokia, who tweeted, “Although painful and humiliating we stood together and kicked this disgusting racist off the train so we could ride in peace away from him… [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][I’ll be] damned if I let some drunk bigot call a group of young teenage boys racist names and allow him to get away with it.”
Women Speak out About Sexual Assault in the Music Industry

No doubt encouraged by the bravery of the many women who have come forward to share their harrowing experiences with powerful film executive Harvey Weinstein, women are coming forward to call out men in other industries who they say have engaged in inappropriate behavior up to and including harassment and assault. Allegations have surfaced in the last week involving Matt Mondanile (a.k.a. Ducktails) who parted ways with former outfit Real Estate over the allegations last year; The Gaslamp Killer, and Alex Calder. A few of the labels and publicists who have worked with these artists have spoken out as well in a show of solidarity.
Other Highlights

Watch Beyonce’s video for “Freedom,” listen to an unreleased Bob Dylan song, an early listen of Bully’s Losing, Radiohead songs translated through Spongebob, it’s the release day for St. Vincent’s MASSEDUCTION as well as Courtney Barnett and Kurt Vile’s Lotta Sea Lice and Beck’s Colors, watch the new Neil Young video for “Hitchhiker,” Japanese Breakfast directed Jay Som’s “The Bus Song” video, Marilyn Manson discusses his onstage accident, Taylor Swift is starting her own social network, Joan Baez is retiring from touring, Sharon Jones’ posthumous album to be released next month, and read this: The Story of Jud Jud.

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NEWS ROUNDUP: Taylor Swift Goes Goth, NYC’s Night Mayor, & More

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Looks like Taylor really loved Bey’s “Formation”

Taylor Swift

Taylor Swift tried to overshadow the eclipse (while one artist was potentially blinded by it), by scrubbing her social media pages clean on Monday. The internet buzzed about the impending announcement of a follow-up to 2014’s Grammy-winning 1989, and by week’s end details were released: Reputation drops November 10th, with first single “Look What You Made Me Do” hinting at a darker, Goth-ier image for the singer-songwriter.
Soon, NYC Will Get Its Own Night Mayor

In May, it was announced that New York City was getting a Night Mayor. The person that holds the title is in charge of the “Office of Nightlife,” and is responsible for protecting music venues, particularly the kind of DIY venues that have been shutting down at an alarming rates. Read more about the position here, and one of the people vying for it here.
A Fight Over Song Licensing Continues

Some backstory: the Department of Justice is trying to enforce 100% licensing when it comes to song licenses; currently, the industry allows fractional licensing, which means everyone who “owns” a song must agree about its licensing. However, 100% licensing means that any one of those people can license the song without permission. Both BMI and ASCAP think this will be damaging to songwriters, and have teamed up to oppose the DOJ. Read the whole story here.
Other Highlights

Spotify prepares to go public, hip-hop cookie dough, Solange is playing Radio City next month, RIP John Abercrombie, a new song from Beck, the Village Voice will end its print edition, Beyonce and Laverne Cox are planning a collaboration, Kim Gordon has a new clothing line, and the Allah-Lahs’s name leads to a canceled concert.

ONLY NOISE: Beautiful Losers

Repeat after me: Loser. Double loser. Whatever. Moron. If you were a certain age in the late 1990s, this insult – when paired with the correct hand motions – was the ultimate dis to peers, siblings, and losers of every stripe. The term “loser” in the nineties and early ‘00s was plastered all over the place, from Beck’s breakout hit, to anti-drug PSAs, and that movie starring Jason Biggs’ trapper hat. The identity of the “loser” in music, however, is a far more complex thing than a girl “with her finger and her thumb in the shape of an “L” on her forehead,” as Smash Mouth sang.

The loser is not simply a spinoff of Jay and Silent Bob, or Bill and Ted, or Beavis and Butthead (as you can see, losers often come in pairs). It seems that the loser of song tradition is more akin to a hero than a villain. A flawed bearer of mediocrity and wearer of slouchy clothes, the loser archetype is as quintessential to rock ‘n’ roll as the rambler and the romantic. Some losers are self-proclaimed, like Derrick Harriott as he sang his reggae hit “The Loser,” and Merle Haggard, who released the gorgeous but self-effacing song “I’m a Good Loser” on his 1971 record, Hag. “Yeah I’m a good loser/Born to be that way/This dog, he never had his day,” croons Haggard, no doubt lamenting a long-gone woman.

Though country stars were often self-critical in Haggard’s era, hearing him sing the words, “I’m a good loser” is still jarring to this day. Who could ever think of Merle Haggard, one of the coolest men in the history of country music, as a loser? Only he had the power to slander his name, illuminating the fact that loss plagues all of us – even rich and famous country singers.

In many ways, Haggard was a loser. He certainly didn’t have a winning relationship with cigarettes, drugs, or alcohol, the combination of which contributed to his many years of poor heath, and eventual death in 2016. The Hag was also known to lose in love, and to the law. He was married five times and served two and a half years at San Quentin prison in 1958 for burglary and attempted escape from county jail. Add all that up, and you might not call Merle Haggard a winner – but he sure lost with the best of ‘em.

The desperate nature of a country music persona made the genre natural loser territory. From Hank Williams singing “You Win Again” to Linda Ronstadt’s “Sometimes You Just Can’t Win,” to the real-life rise and fall of Townes Van Zandt – the songs wouldn’t have been as good if everybody was winning all the time. But music’s hopeless manifesto didn’t reside only in blues and country – pop is full of losers, too. Of course there’s “Three Time Loser” by ultimate sexyman Rod Stewart, “Teenage Dirtbag” by Wheatus, “The Winner Takes It All” by ABBA, and countless others. Even The Beatles, the untouchable Fab Four, had a song about being a loser: “I’m A Loser” from 1964’s Beatles For Sale. “I’m a loser/And I lost someone who’s near to me,” sings John Lennon. It’s hard to imagine John, Paul, George or even Ringo identifying as losers while watching them perform this cut to a crowd of shrieking women, but then again, as the song warns, “I’m a Loser/And I’m not what I appear to be.”

Still, The Beatles don’t quite fit the loser archetype. I mean, look at those suits and those haircuts. Even when they got mustachioed and Sgt. Peppered it was hard to see them as anything but rock n’ roll all-stars. Folks like Roy Orbison, on the other hand, had a tougher time making it as a cool kid. “Roy was the coolest, uncool loser you’d ever seen,” Bruce Springsteen said of Orbison in a 2012 keynote address at SXSW. I doubt Orbison would deny such a claim had he been alive to hear it. The dark genius behind masterpieces like “Only The Lonely” and “Crying” knew much of loss and sorrow.

Orbison, aka, “The Big O” went through numerous catastrophes in his lifetime – in fact, there is even a section of his Wikipedia page entitled, “Career decline and tragedies” – and it’s lengthy. Orbison suffered heartbreak, infidelity on the part of his first wife Claudette (yes, that “Claudette”), and a lifetime of mourning. In June of 1966, Orbison and Claudette were riding motorcycles through Gallatin, Tennessee when Claudette struck the door of a pickup truck that had pulled out in front of her. She died instantly. Only two years later while touring England, Orbison received a call relaying that his home in Hendersonville, Tennessee had burned down, leaving his two eldest sons dead. If to be a loser you must suffer great loss, then perhaps Orbison was the biggest loser in rock ‘n’ roll history.

Where Haggard and Oribson’s losses were the stuff of tragic poems, the loser that rolled up in the ‘90s was cut from a different cloth. Take Beck’s “Loser” for instance – the lo-fi hit that put him on the map in 1994. Far more blasé than self-loathing, Beck traipsed through that music video like a shabby bon vivant rather than a hopeless burnout. He owned his loser-dom in secondhand duds and ill-fitting hats. Beck was the loser we’d never seen in music before: mildly defiant, nihilistic, and chic in his refusal to look to the future. Suddenly, the loser wasn’t tragic – it was cool.

But where have all the losers gone? We’ve seen plenty of pop stars in the past decade donning thick-rimmed glasses and identifying as “geek” (which, by the way, is not the same thing as a loser), but where are the deadbeat, worn-down, desperate stars of today? And please do not mention Ed Sheeran – he has a full torso of professional tattoos, and is therefore stripped of any potential loser accolades. Everyone keeps shouting that “the ‘90s are back!” but I don’t see rock ‘n’ roll losers anywhere. Who are kids supposed to look up to these days anyway, Adam Levine? That guy has far too many abs to be a loser. Mainstream music seems to be populated solely by shiny, auto-tuned sex symbols (and Ed Sheeran), and it’s just not enough. We need our poor, our weary, our roughened-up chumps, too. We need our losers. We are lost without them.

NEWS ROUNDUP: Video Edition

Do Your Makeup With Sadie Dupuis

The video for the second single from Dupuis’s solo project, “Less Than 2,” is a spoof of over the top YouTube makeup tutorials. Bored with the beauty vloggers who want to teach you how to contour like Kim Kardashian? This video features blood facials and shows off looks like “Bagel Head,” “Poisonous Lips” and my personal favorite, “Your True Reptilian Self.” Slugger will be released on 11/11 via Carpark Records- watch “Less Than 2” below.

Listen To The First Dirty Projectors Song Since 2012

David Longstreth is sad. In the black and white video for “Keep Your Name,” he does sad things like smash a guitar, take a lonely walk along what appears to be a power plant, and paints a poop emoji alone in an empty room. The song, which samples the earlier Dirty Projectors track “Impregnable Question,” is a satisfyingly melancholy breakup song, but gets a little awkward when Longstreth kinda starts rapping and throws out lines like “What I want from art is truth/ What you want is fame” and “Our band is a brand and it looks that our vision is dissonance.” It’s unclear whether the song is part of a larger project or new album, but if it is, it will be the band’s first since 2012’s Swing Lo Magellan.

Watch Beck’s Video For “Wow”

Ok, this one came out last week. But it’s pretty cool, and maybe you missed it.The video matches the lyrics by being an eclectic mashup of different moods, ideas, and sounds- there’s a gun twirling cowboy, dancing kids, random animations and a rose with an eyeball. Those were contributed by guest artists to create something of a “music video art gallery,” which were placed between clips of Beck dancing on the street and a cowboy riding through the desert. Check it out below:

New White Stripes Video Released

From The White Stripes YouTube Account: “ “City Lights” was written for The White Stripes’ Get Behind Me Satan but then forgotten until White revisited the 2005 album for Third Man’s Record Store Day 2015 vinyl reissue and finished the recording in 2016. The track is the first new, worldwide commercially released song by The White Stripes since 2008.” Filmmaker Michel Gondry made the video on his own and sent it to Third Man Records as a surprise. The simple video is a single shot of a foggy shower door as an unseen bather inside draws shapes and figures in the condensation.

FESTIVAL REVIEW: Highlights of Governor’s Ball 2016

Mother Nature rained heavily down on this year’s Governor’s Ball, which took place on Randall’s ~~Mud Pit~~ Island. It was a test, and us New Yorkers proved that we sure have some spunk, staying true to the festival’s slogan: “You’re doing great!”

I earned personal emblems of a successful music festival: purple bruises made to look like sunsets on my skin, irreparably damaged white Air Force Ones, and an inevitable cold from being wet for the duration of Saturday. The last one, I deserved. That morning, the weatherman and I were adamant that I wouldn’t need a jacket.

Then, there was Sunday’s disappointing full-day cancellation that left legions of fans angry because they traveled x amount of miles to see Kanye or Death Cab for Cutie. When I got the news, I remained motionless on the couch, silently crying the tears I’d have shed at Death Cab’s closing set.

And the biggest curse of a festival, as always, is not being able to be in two places at once. I was sad to have missed Big Grams or another fun show from Matt and Kim because I parked myself at the main stage all of Friday. And even on Sunday while I was camping out for a last-minute Two Door Cinema Club ticket, I was also committed to missing two surely phenomenal performances by Courtney Barnett and Prophets of Rage, both just a walk away.

But I digress. Let’s end this one with some highs, shall we?

The Strokes covered “Clampdown” for the first time since 2004
To be fair, I could peg the whole set as my favorite part of the festival. When I was 11, I used to blast this Clash cover on my iPod, fantasizing that I might one day hear it live. That, and “Red Light,” which they performed for the first time since 2010. Everyone and their mothers know that The Strokes are my favorite band, but even I can objectively say that lately, they haven’t been at their best. However, on the heels of a new EP whose songs fit seamlessly into their set, New York’s finest garage rockers showed that they’ve been revived with a new positive energy. The best feeling was watching the expressions as all five of them performed with unrivaled mastery, looking truly happy to be together.

Getting intimate with Two Door Cinema Club
Though it’s been a minute since their last album (almost four years, but who’s counting), 15-year-old me would’ve never forgiven present-day me for skipping Two Door Cinema Club’s make-up show at Music Hall of Williamsburg. Adrenaline distracted me from the cold air and the rain drenching me through my flimsy windbreaker during the four hours I waited out (tip: phone a friend who’d be willing to bring you a lox bagel while you wait. You’ll need it). It proved to be worth it; there surely is no better venue to see a favorite band than one where from every angle, you feel like you’re in the front row. Plus, even through moshing with grown men and crowd surfing during the encore, my glasses survived the night.

Beck being Beck
A live Beck experience was yet another realized fantasy from my fleeting youth, ignoring the fact that his breakout hit “Loser” is a couple of years older than me, and “Where It’s At” is less than a year younger; in any case, they all fit seamlessly into one animated set. And during “Hell Yes” I couldn’t help but laugh, overhearing the guy next to me ask, “Is he rapping?” And it’s only been two years since “Blue Moon” reduced me to tears, and only a little more than a month since Prince’s tragic passing. Beck recalled accepting his Album of the Year award and a hug from The Artist himself, which he described as one of the “strangest, most amazing moments.” His cover of “Raspberry Beret” was easily the best of myriad Prince tributes this weekend.

Beck at Governor’s Ball 2016. Photo by Ysabella Monton for AudioFemme.

Este Haim getting wet with the crowd
Midway through Haim’s set, rain came down yet again. Gratefully, the Gov Ball NYC stage was on cement rather than grass, so mud was the least of our concerns, but that didn’t stop some people in the crowd from seeking shelter in lieu of enjoying the music. Este, the oldest of the Haim sisters, stepped out in between songs to pour a full bottle of water on herself in solidarity before continuing a stellar set that culminated in another fantastic tribute of Prince’s “I Would Die 4 U” and a wild drum finale.

Easy afternoon with Catfish & the Bottlemen
Being the perpetually late person that I am, I had to sprint not only across the bridge, but to the complete opposite end of the island to make sure I didn’t miss a minute of Catfish & the Bottlemen on the main stage. They drew a much larger crowd, with more than enough energy to wildly dance along, than one would expect for a 3 pm set. Their set encapsulated exactly what it would’ve felt like to see Blur at a hole-in-the-wall venue in the early ’90s.

A rainy rave with Miike Snow
Just after receiving a notification from the official Gov Ball app that the worst was behind us, rain came down yet again for Miike Snow, weeding out the weak and prompting we, the thick-skinned, to go all out. Everything I owned was drenched. The cash in my wallet is still damp as we speak. With feel-good music, a brilliant lights show before us, and nothing to lose, we embraced the feeling of wet skin on wet skin as limbs flailed in the muddy flood. Missed connection: the guy in the tropical print shirt who came back into the crowd with a slice of pizza and let everyone within three feet have a bite.

The best moves from Christine and the Queens
I caught Christine and the Queens completely by accident as I made my lap around the island on Friday and saw that someone happened to be getting set up on stage. I’d never heard of her before, but “WOW” wouldn’t even begin to cover my reaction when Christine (real name Heloise Letissier) and her Queens (four male backup dancers) took the stage in trousers and tees, performing synchronized dance routines and tossing flowers into the crowd. Now that’s what a festival performance should be.

giphy — Christine and the Queens, via governorsballmusicfestival.com

Nostalgia with The Killers
Wrapped in a wet blanket as my only protection from the cold, I was about to head home midway through M83 as I could feel a sore throat coming on. But, as I made my way out, I could faintly hear The Killers from across the park, and I knew I had to catch a little bit, even if I wasn’t going to immerse myself in the crowd. I was more than happy to dance in the middle of the field with several hundred strangers, singing along to “Jenny Was a Friend of Mine” off of 2004’s Hot Fuss and admiring the fireworks behind the stage to round it all up.

The Killers Gov Ball — Fireworks and “When You Were Young” by The Killers. Photo by Ysabella Monton for AudioFemme.

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LIVE REVIEW: Pitchfork Music Festival 2014

072014_0342_1000 — All photos by Ellie White Photography

Pitchfork Fest 2014 came and went in a flash. Literally. Peruse our photo editorial from the weekend, courtesy of our photo editor, Ellie White, who snagged highlights from all of our favorite shows over the three day extravaganza situated in Chicago’s beautiful Union Park. Our personal faves from the spectacularly-curated lineup this year included sets from the ever-brooding black-metal gents of Deafheaven; glam goddesses in black, the Dum Dum Girls; headliners Beck (whose set topped the best of the fest list for me, hands down without question), Neutral Milk Hotel and Kendrick Lamar (though Danny Brown–who won best hair of all time with his forest green ombre–and Earl Sweatshirt battled it out for best rap performance in our opinion); a stunning, once in a generation set from shoegaze pioneers Slowdive (Rachel Goswell’s dress looked like sexy, glimmering armor); a wildly exuberant performance from Tune-yards –whose addition of African Dance inspired backup choreography had everyone in a frenzy; Boundary-pushing electronic music from The Haxan Cloak and Factory Floor (um, can we please hear it for that badass drummer??); Intelligent ambient down-tempo from heartthrob Jon Hopkins and a performance from the Range that could put anyone else’s obsession with and knowledge of rap jams to shame. Oh and I think everyone is officially in love with FKA Twigs and Neneh Cherry.

Honorable mentions include Majical Cloudz, whose keyboard broke after the second song. As a result, lead singer Devon Walsh performed an array of songs sung acapella (at one point standing up on a chair to belt out Magic, leaving the entire audience in tears), stand up comedy and audience-participation fueled beat boxing. At the end of the set, keyboardist Matthew Otto, so adobrably contrite and just adorable in general, had us all count down from 10, and then proceeded to smash the defunct synth to smithereens for all the world to see. A lifelong dream of his come true, he proclaimed.

All in all it was an amazing, sunny weekend full of cantankerous, gorgeous, feisty, live performances from some of the very best and brightest talent that exists in music today. We can’t wait to see what the fine folks over at Pitchfork have in store for next year. In the meantime, read on and enjoy.

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Tag: Beck