anger makes me a modern girl

I met Pearl Jam’s Eddie Vedder in Seattle in 1998, outside a club called The Crocodile Café. My band [Sleater-Kinney] was playing that night and Eddie walked up and stood in line behind me and my bandmate. He introduced himself to us and said he felt like he was standing next to Jagger and Richards. It’s a compliment a girl doesn’t hear too often.

It’s not that his comments fed my ego, or were commensurate to my own sense of self, but they were indicative of something that I would later learn is intrinsic to Vedder: he is unafraid to be a fan, and music is an entire universe for him.

Whether he’s bringing the Buzzcocks along on tour to introduce his audience to some English punks who were there at the beginning, or playing a cover of the Clash’s “Know Your Rights,” doing a pretty good job of imitating Joe Strummer’s hoarse and plaintive cry, Vedder is all about sharing. On the tour we did together in 2003, I watched musicians from the likes of Steve Earle to the Dead Boys’ Cheetah Chrome take the stage beside him. Well, actually, in front of him, since he often slips into the background to watch. Even when it’s just his own band on stage, he’ll step aside during a Mike McCready solo, steal glances at the crowd, rock back and forth; sometimes it’s more like he’s part of the audience than the lead singer.

We were all on stage one night, playing Neil Young’s “Rockin’ in the Free World,” which was typically Pearl Jam’s last song of the encore. We got to the break in the song, and I guess the drummers thought the guitarists would keep playing and vice versa, but it turned out that none of us did. We all stopped. For a moment, it was just Eddie. “There are a thousand points of light,” he sang. There was nothing behind him. It was a clumsy and beautiful moment. He turned to us, smiling, as if to say, “What the fuck?” and we came back in on the next beat. I remember thinking later that he could probably do all of this on his own, but I know he’d rather be part of something bigger, and he’d rather have music filling the space around him, so that he can be a performer and a fan at the same time.

Carrie Brownstein 

The Believer - Music Issue - June 2004 

(Full Eddie Vedder interview)

tierradentro:

“Kneeling Female in Orange-Red Dress”, 1910, Egon Schiele.

tierradentro:

Kneeling Female in Orange-Red Dress”, 1910, Egon Schiele.

Patsy Cline - Why Can't He Be You
76 plays

iamapatientboy:

Patsy Cline - Why Can’t He Be You

"He takes me to the places you and I used to go
He tells me over and over that he loves me so
He gives me love that I never got from you
He loves me too, his love is true
Why can’t he be you?

He never fails to call and tell me I’m on his mind
And I’m lucky to have such a guy, I hear it all the time
And he does all the things that you would never do
He loves me too, his love is true
Why can’t he be you?

He’s not the one who dominates my mind and soul
And I should love him so, ‘cause he loves me, I know
But his kisses leave me cold

He sends me flowers, calls on the hour, just to prove his love
And my friends say when he’s around, I’m all he speaks of
And he does all the things that you would never do
He loves me too, his love is true
Why can’t he be you?”

vivipiuomeno:

Diane Arbus Stripper, Miss Sata Lyte, in her dressing room with 1962

vivipiuomeno:

Diane Arbus Stripper, Miss Sata Lyte, in her dressing room with 1962

under-radar-mag:

On Sunday, August 10, Neko Case performed at Hulen in Bergen, Norway. (via Check Out Photos of Neko Case at Hulen in Bergen, Norway | Under the Radar - Music Magazine)

under-radar-mag:

On Sunday, August 10, Neko Case performed at Hulen in Bergen, Norway. (via Check Out Photos of Neko Case at Hulen in Bergen, Norway | Under the Radar - Music Magazine)

tricotomiacruenta:

Hans Bellmer

tricotomiacruenta:

Hans Bellmer

Each time we don’t say what we wanna say, we’re dying.
Yoko Ono

Johnny Depp testing out his”new” hands