Monday, March 19, 2018

Comedian Jim Carrey's Lovely Painting Of Trump

Jim Carrey on Twitter says: If you liked my last cartoon you may also enjoy...


Cool, New Video: Queens Of The Stone Age "Head Like A Haunted House"

Some Josh Homme live videos from Queens Of The Stone Age and Them Crooked Vultures (Josh, John Paul Jones, Dave Grohl)...

The Guardian: Pussy Riot Protest Against Putin Election With New Song

Punk provocateurs release statement alongside new track "Elections" attacking corruption, censorship and erosion of democracy in Russia

Nadia Tolokonnikova, of the Russian punk band Pussy Riot, performs at the Vive Latino music festival in Mexico City, 18 March 2018.
Nadia Tolokonnikova of Pussy Riot: ‘We’re not going to obey during this term.’ Photograph: Christian Palma/AP

Original in "The Guardian"

Russian political punk group Pussy Riot have released a new song, Elections, to protest against “18 years of Putin’s power” as Russians headed to the polls on Sunday.
The harsh hip-hop track features lyrics such as “six years we’re gonna fight, fight / We’re not gonna obey during this term”. In a statement alongside the release, the band wrote: 
What 18 years of Putin’s power has brought to us? Arrests, poisonings, tortures, murders of political activists. Institutional corruption which is HUGE. Total erosion of democratic institutions. Giant economic inequality. Worsening of prison conditions. Environmental catastrophe in lots of industrial regions of Russia. Censorship everywhere – in media, in education, in internet, in people’s heads. Self-censorship, caused by fear. You should not be deceived, this event on 18th of March is not elections. Falsifications, eliminations of political opponents, Kremlin-controlled media leave no chance to anybody except Putin.

The vote saw Vladimir Putin receive 76% of the vote, ensuring him another six years in power as president. Ahead of the vote, Pussy Riot sarcastically wrote, “Guess who’ll win?” on their Facebook pageAlexei Navalny, his main opposition opponent, was banned from the race in December by the country’s central electoral commission.
The video for Elections features paintings by Navalny’s brother Oleg, currently serving a three-and-a-half-year jail sentence after being convicted of stealing money from two Russian companies – a ruling described by the European Court of Human Rights as “arbitrary and manifestly unreasonable”. Pussy Riot described him as a political prisoner.
Pussy Riot, who have a rotating cast of musicians and artists, have long been outspoken against Putin and Russian elites. Members Maria Alyokhina and Nadezhda Tolokonnikova served 21-month jail terms after an anti-Putin performance in 2012 at the altar of Moscow’s largest cathedral. Alyokhina was detained in August 2017 in the Siberian city of Yakutsk following a protest she made with another Pussy Riot member against the imprisonment of Ukranian film-maker Oleg Sentsov. The band staged another demonstration against Sentsov’s imprisonment by storming Trump Tower in New York last October, and have protested against Donald Trump in their songs Make America Great Again and Police State.
The band have made other high-profile protests in Red Square, and at the 2014 Winter Olympics in Sochi, where they were attacked with whips and tear gas by Cossack militia working as security at the games. 

Cool, New Song: Pussy Riot "Elections/Выборы" Brutal Take On War Criminal Putin's Fake Election Today

Sunday, March 18, 2018

NME: Pavement Could Reunite For 30th Anniversary In 2019

      Pavement Credit: Getty/Martyn Goodacre

( note: Although this was published last September, it didn't get much attention at the time. Since it is still quite relevant, I publish it here because so many people, including myself, would LOVE to see a Pavement reunion in 2019... and also to celebrate NME (which I loved when I lived in England and still tried to follow here in America) as it ceases print publication this year... AND because I am psyched that one of my videos was used in this article from NME!)

Spiral Stairs teases future plans
Pavement could “maybe” reunite for their 30th anniversary in 2019, according to one of the band’s founding members.
The garage-rock outfit originally split in 1999 but reformed in 2009 for a reunion tour the following year. Speculation about another possible reunion has been rife ever since, with frontman Stephen Malkmus performing Pavement songs with guitarist Scott Kannberg, aka Spiral Stairs, at a gig last year for Kannberg’s 50th birthday.
Now, in a new interview, Kannberg has said of teaming up again in a couple of years: “We haven’t really discussed it, but there has been some talk about our 30th anniversary in 2019 maybe doing some stuff, so stay tuned!” Listen to those comments at the 3 minute mark in the interview below.

Watch footage of Malkmus and Kannberg performing together at San Francisco’s The Chapel last year. The band played four songs together in total: ‘Falling Away’, ‘Date W/ Ikea’, ‘Kennel District’ and ‘Summer Babe’.


I shot the video above, which was in the original NME article.

Here are the other videos I shot for at that show:


Stephen Malkmus Acoustic Solo On Cool, New Song "Middle America" PLUS Best Original Live Malkmus Videos

On "Lou Reed: A Life" By Anthony DeCurtis (2017)

I finally got around to reading "Lou Reed: A Life" By Anthony DeCurtis, published a few months ago (October 2017). I accidentally got the "Large Print" edition from the library, so it truly is a weighty tome, clocking in at over 700 pages.

It is a joy to read. I started in the middle of the story, with Lou establishing himself as a solo artist, working with David Bowie and Mick Ronson (my current guitar hero), and am now going back to Lou's early days in Brooklyn and Long Island, college at Syracuse, and the development of The Velvet Underground with John Cage, Sterling Morrison, Maureen "Mo" Tucker, Andy Warhol, and Nico.

To tell you the truth, I don't want the book to end.

It is excellent.

We've all heard stories about Lou being difficult, yet many of us admired his work and many other things about him. I wondered how the book would approach the issue of an artist being simultaneously visionary and irascible.

The answer is that the book does it with an honesty and openness that the Trump administration, for one, is sorely lacking.

Among the most charming aspects of the book is the extensive attention it gives to Lou's devotion to poet Delmore Schwartz (1913 - 1966), who taught at Syracuse during the time Lou was a student there and was a profound impact on Lou as a man and as a poet.

Lou dedicated the song "European Son" to Delmore on the first Velvet Underground album:

Later, Lou wrote the song "My House" (1982) for Delmore:

"My House" by Lou Reed (1982)

The image of the poet's in the breeze
Canadian geese are flying above the trees
A mist is hanging gently on the lake
My house is very beautiful at night
My friend and teacher occupies a spare room
He's dead - at peace at last the Wandering Jew
Other friends has put stones on his grave
He was the first great man that I had ever met
Sylvia and I got out our Ouija Board
To dial a spirit - across the room it soared
We were happy and amazed at what we saw
Blazing stood the proud and regal name Delmore!
Delmore, I missed all your funny ways
I missed your jokes and the brilliant things you said
My Dedalus to your Bloom
Was such a perfect wit
And to find you in my house
Makes things perfect
I really got a lucky life
My writing, my motorcycle and my wife
And to top it all off a spirit of pure poetry
Is living in this stone and wood house with me
The image of the poet's in the breeze
Canadian geese are flying above the trees
A mist is hanging gently on the lake
Our house is very beautiful at night

Our house is very beautiful at night
Our house is very beautiful at night
Our house is very beautiful at night

Delmore Schwartz

The Heavy Bear Who Goes With Me

“the withness of the body”

The heavy bear who goes with me,   
A manifold honey to smear his face,   
Clumsy and lumbering here and there,   
The central ton of every place,   
The hungry beating brutish one   
In love with candy, anger, and sleep,   
Crazy factotum, dishevelling all,   
Climbs the building, kicks the football,   
Boxes his brother in the hate-ridden city.

Breathing at my side, that heavy animal,   
That heavy bear who sleeps with me,   
Howls in his sleep for a world of sugar,   
A sweetness intimate as the water’s clasp,   
Howls in his sleep because the tight-rope   
Trembles and shows the darkness beneath.   
—The strutting show-off is terrified,   
Dressed in his dress-suit, bulging his pants,   
Trembles to think that his quivering meat   
Must finally wince to nothing at all.

That inescapable animal walks with me,
Has followed me since the black womb held,   
Moves where I move, distorting my gesture,   
A caricature, a swollen shadow,
A stupid clown of the spirit’s motive,   
Perplexes and affronts with his own darkness,   
The secret life of belly and bone,
Opaque, too near, my private, yet unknown,   
Stretches to embrace the very dear
With whom I would walk without him near,   
Touches her grossly, although a word
Would bare my heart and make me clear,   
Stumbles, flounders, and strives to be fed   
Dragging me with him in his mouthing care,   
Amid the hundred million of his kind,   
The scrimmage of appetite everywhere.

In the Naked Bed, in Plato’s Cave

In the naked bed, in Plato’s cave,
Reflected headlights slowly slid the wall,   
Carpenters hammered under the shaded window,   
Wind troubled the window curtains all night long,   
A fleet of trucks strained uphill, grinding,   
Their freights covered, as usual.
The ceiling lightened again, the slanting diagram   
Slid slowly forth.
                            Hearing the milkman’s chop,   
His striving up the stair, the bottle’s chink,   
I rose from bed, lit a cigarette,
And walked to the window. The stony street   
Displayed the stillness in which buildings stand,   
The street-lamp’s vigil and the horse’s patience.   
The winter sky’s pure capital
Turned me back to bed with exhausted eyes.

Strangeness grew in the motionless air. The loose   
Film grayed. Shaking wagons, hooves’ waterfalls,   
Sounded far off, increasing, louder and nearer.   
A car coughed, starting. Morning, softly   
Melting the air, lifted the half-covered chair   
From underseas, kindled the looking-glass,   
Distinguished the dresser and the white wall.   
The bird called tentatively, whistled, called,   
Bubbled and whistled, so! Perplexed, still wet   
With sleep, affectionate, hungry and cold. So, so,   
O son of man, the ignorant night, the travail   
Of early morning, the mystery of beginning   
Again and again,
                         while History is unforgiven.

"My House", Lou Reed's tribute to Delmore, appeared on the album The Blue Mask (1982) which many at the time considered a "come back" for Lou. 

Perhaps the most remarkable aspect of the album is the twin aural guitar assault launched by Lou and guitarist extraordinaire Robert Quine.

The title song from the album The Blue Mask...

Lou worked with some great guitarists in his day - Sterling Morrison in The Velvet Underground, Mick Ronson as a solo artist - and Lou was no slouch himself at guitar either.

Yet there seems to be something special about Robert Quine's work with Lou, both in the way it stands on its own and the way it intertwined with Lou's guitar to create something wholly unique.

I was struck by Robert's sad end (he killed himself after his beloved wife, who he said he could not live without, passed away suddenly), and I was shocked by a story told in Rolling Stone about Lou by The Black Keys' Dan Auerbach. Meeting backstage at an event, Dan approached Lou to talk to him about Robert Quine, a cousin of his. Due to the tragic nature of Robert's death, and the great art they made together, Dan probably expected touching accolades from Lou about Robert. Instead, he got silence and Lou simply walked away without a word. I found that puzzling:

Interview with Dan Auerbach - From "Rolling Stone", January 6, 2016:
Who are your heroes – who would you still be nervous to meet?

"Ever since I met Lou Reed, I don't really have heroes anymore. Or, at least, I don't want to meet them, unless I'm working as equals in the studio with someone like Dr. John. I heard a lot of Lou stories from my cousin [Voidoids guitarist] Robert Quine. Then the Black Keys were playing a fundraiser with Lou right after Robert died in 2004. So I walk up to Lou and say, "I'm playing in the Black Keys here. My cousin was Robert Quine. He told me how much he thought of you." Lou stared in my eyes, and just turned around and walked away [laughs]..."

Anthony DeCurtis' "Lou Reed: A Life" reveals that Quine and Reed had a complicated relationship and ultimately a falling out they never recovered from, much like practically every other professional or personal relationship Lou Reed ever had in his life....(except, apparently, Laurie Anderson...)

Another Quine cousin, Tim Quine, wrote this really nice piece about Robert you can see here.... which includes an awesome video of "Waiting For The Man" featuring a cool Quine guitar solo.

But much earlier, Robert Quine had played a crucial role in documenting The Velvet Underground. In 1969, Quine was living in San Francisco and was a hardcore Velvet fan who taped their shows at The Matrix. The Quine Tapes make Quine the Alan Lomax of The Velvet Underground. For how wonderful the Velvets' studio albums are, their live material is a real revelation, and gives us the slightest idea of how shocking they were to audiences at the time. Thanks, Robert, for gifting us this...

Please purchase "Lou Reed: A Life" by Anthony DeCurtis from an independent bookstore, if you can. 

Comedian Jim Carrey's Lovely Painting Of Sarah Huckleberry Sanders

Comedian Jim Carrey released his painting of Trump's press spokesperson Sarah Huckabee Sanders on, along with this statement:

This is the portrait of a so-called Christian whose only purpose in life is to lie for the wicked. Monstrous!

Saturday, March 17, 2018

Cool, New Song: Pussy Riot "Elections/Выборы" Brutal Take On War Criminal Putin's Fake Election Today


it's the election day in Russia (guess who'll win??) and here is Pussy Riot's new song & video - E L E C T I O N S 🦁🦊 💣 - - - - >
What 18 years of Putin’s power has brought to us?
Arrests, poisonings, tortures, murders of political activists. Institutional corruption which is HUGE. Total erosion of democratic institutions. Giant economic inequality. Worsening of prison conditions. Environmental catastrophe in lots of industrial regions of Russia. Censorship everywhere - in media, in education, in internet, in people’s heads. Self-censorship, caused by fear. You should not be deceived, this event on 18th of March is not elections. Falsifications, eliminations of political opponents, Kremlin-controlled media leave no chance to anybody except Putin. Pictures that you can see in the video were painted by Oleg Navalny, a political prisoner, who was convicted to 3,5 years in jail because he’s a brother of Alexey Navalny, Putin’s fiercest political opponent. Editing & Visuals: Melanie Clemmons Camera: Nikita Chaikin Directed by BABOONs ***
ELECTIONS 6 years we gonna fight 6 years we not gonna obey 6 years i gonna start a gang 6 years we’re not gonna eat slop scraps 6 years we’re gonna fight fight we’re not gonna obey during this term 6 years i gonna start a gang cops you’d better eat your slops food by yourself the shameless in power power power power power stealing as much as they can power power power power even a thief has a sense of dignity steal steal steal steal if you’re unarmed they’re likely to assault you 6 years we’re gonna fight 6 years we’re not gonna obey 6 years i gonna start a gang 6 years we’re not gonna eat scraps 6 years is the time of palace wars term term term term there are lots of discontented in high-security regime term term term term a coup’s happening, the Kremlin’s extremely nervous we were given 6 years illegitimately a dead body’s in the detention centre our criminal case was fabricated we were given 6 years of high-security regime illegitimately 6 years we gonna fight 6 years we not gonna obey 6 years i gonna start a gang 6 years we’re not gonna eat scraps 6 years we’re gonna fight fight we’re not gonna obey during this term 6 years i gonna start a gang cops you’d better eat your slops food by yourself *** на строгом режиме много недовольных слава всем наблюдателям и всем, кто активно бойкотирует выборы. тюремные картинки авторства политзаключенного Олега Навального, который сидит 3,5 года за то, что он брат Алексея Навального. *** шесть лет драться шесть лет не подчиняться шесть лет сколочу банду шесть лет мы не едим баланду шесть лет драться драться в этот срок не буду подчиняться шесть лет сколочу банду сами легавые ешьте баланду ниже параши может пасть власть масть масть масть масть пиздят столько сколько смогут украсть власть власть власть власть и у вора есть честь у вора есть масть красть красть красть красть если ты безоружен значит могут напасть пасть пасть пасть пасть шесть лет время дворцовых воен срок срок срок срок на строгом режиме много недовольных срок срок срок срок путч кремль неспокоен срок срок срок срок от звонка до звонка, звон колоколен шесть лет по беспределу из сизо выносят тело нам нарисовали дело строгого режима шесть лет по беспределу шесть лет драться шесть лет не подчиняться шесть лет сколочу банду шесть лет мы не едим баланду шесть лет драться драться в этот срок не буду подчиняться шесть лет сколочу банду сами легавые ешьте баланду

Thursday, March 15, 2018

Jack White Talks About New Album In The Guardian: "As An Artist It Is Your Job Not To Take The Easy Way Out" PLUS Original Jack White Live Videos 2009 - 2014

 From Jack White's site:  March 15, 2018 Nashville Blue Room show

‘I want to be turned on whenI listen to an artist speak’ … White
 ‘I want to be turned on whenI listen to an artist speak’ … White Photograph: David Levene for the Guardian

As the messiah of analogue and vinyl goes digital on his new solo album, Jack White talks about the need to be contrary, his love of objects – and his dislike of the press

Original in "The Guardian"

Jack White is back in the UK for the first time since "Seven Nation Army" became the unofficial rallying cry for Jeremy Corbyn. But he doesn’t know much about Corbyn and anyway: “I feel like I have to be insanely careful these days because the press has had a lot of fun with me over the years.”
White is wearing black sports trousers with panels of green and yellow, and is rather athletic (he has shares in a company that produces quality baseball bats). His most famous song was also used, without warning, in a fan-made video for Donald Trump’s run for president. Via his record label Third Man, White and Meg, his partner in the White Stripes, issued the customary disavowal and Third Man started selling “Icky Trump” T-shirts, punning on the title of the final White Stripes album.
When one of your songs is an anthem used in stadiums and presidential campaigns, it is fair to say you have reached a certain standing. All the principles White upholds – that music should be held in the hand, and paid for – dissolve when a tune rolls airy, abstract and royalty-free, around a vast stadium. “The more people don’t know where it came from, the happier I am,” he says. When there’s a game on TV, his children, 10 and 11, say: “Dad, listen! It is never going to get old for us.” The song has also been assimilated into the repertoire of the high school marching band, “another strange world to crack into”.


White has long been part of the fabric of life but then, he made sure of that. When he ran his upholstery company after graduating from business school in Detroit, he sewed records into the sofas he finished. Those sofas are falling apart on landfill sites these days, offering up their musical time capsules: two were found in 2016. As part of the paraphernalia that accompanies his new album Boarding House Reach, fans can purchase a “Vault package” that includes a commemorative dollar coin, which doubles as a 45-inch vinyl adaptor, and gets you 10% off other stuff in his shops. One of Third Man’s co-founders, Ben Swank, wrote a piece in the Guardian saying that the company would continue to auction off its eccentric items on eBay because: “We are American, and Americans do all sorts of crazy things for capitalism. See you in hell.”
Trump has got White thinking about business. “He was always a joke,” he says. “People like Trump don’t use their own money. They use other people’s, and if they take a loss or go bankrupt, it doesn’t hurt them at all.” If White has a bad year, it comes out of his wallet, “just as if it were a corner store. In my neighbourhood you grew up thinking: ‘Maybe I’ll own a shop.’ But in his world, it’s like: ‘I’m going to grow up and have a corporation.’ Which is something no normal, everyday person can do.”
There is a song about this on the new record, his third solo album, an experimental storm of rock’n’roll and hip-hop sampling using live musicians who have worked with Kanye West and others. There is another track called Ezmerelda Steals the Show, a Learish interlude about a six-year-old at a rally, duping the crowd in a magical mist. White notes that Trump still goes to rallies after being elected, like no other president. “He needs the ego boost you get from a live crowd. He misses the glory, because at home, or at the White House, all he’s getting is negativity.”
The difference between a president and a rock star? A president doesn’t have to do anything once he gets on stage, White says. He, meanwhile, feels like a standup comedian. “If I do a joke and it doesn’t get a laugh, I know I have to win them back.”

With Meg in the White Stripes, 2010.
 With Meg in the White Stripes, 2010. Photograph: Ewen Spencer/Ewen Spencer (commissioned)

The hardest thing for him to contend with, though, is technology. At a show, when White sees the “blue faces” (people with heads tilted at their phones), he assumes that people don’t like the song. He has gone into partnership with Yondr, the company that supplies cellphone-locking pouches at gigs and promises “to help you turn off your phone and tune into life”. At his estate in Nashville, White has had the gutters miked up and the sound piped into his bedroom: he likes to show his daughter how he can “turn on the rain”. He has collections of tangible objects – “a layman’s way of getting involved in the small and beautiful things of life” – including scissors, small alarm clocks and coin-operated machinery. Other collectors plague him via the internet: they know what he is looking for. He has an aluminium TWA Lockheed Constellation, he tells me – the plane designed by Howard Hughes. A model? “Uh-huh!” he nods, rapidly, looking innocent and dimpled. In his artisan “curation” of beautiful things and his expansion of the small business into a lucrative empire, he is the original hipster, even down to the hats.
His sheer commitment to his musical persona was impressive, or a little bit annoying, depending on your point of view. He had a messianic attitude towards analogue recording and vinyl in the age of digital. “If it was 1999 and I was asked: ‘What do you think about digital music?’, it was my job to say: ‘Is that what everyone else is doing? Then I don’t like it,’” he says. “If the world had been into analogue, I would’ve said I loved digital. As an artist it is your job not to take the easy way out. I want to be turned on when I listen to an artist speak: I want them to show something that no one else is doing.”
What was the broader purpose? “At that time, vinyl records were almost completely gone,” he says. “House music and DJs were keeping them alive. The Detroit garage rock scene – and the Hives, the Strokes, the Vines – were a little breath of fresh air for guitar rock and it was our duty to help save vinyl. A lot of that is due to an insane amount of effort from Third Man Records.”


His company helped to save vinyl? “Oh, there’s no doubt about it. People were thinking we were being old-timey, retro and cute. But our point was: this is a format that really makes sense for music lovers. It’s the only part of the music industry that’s rising in sales.” In 2016, long before Elon Musk and his Tesla, White sent a turntable into space. The vinyl, plated in gold to help it withstand temperature changes, played 28,000 metres above the earth, then descended back towards Idaho.
The White Stripes famously recorded in the all-analogue Toe Rag Studios in east London, and a wave of acts duly appeared in the late noughties soaked in the same vintage production. Studios would boast of having Elvis’s mixing desk, or Hank Williams’s mic stand, as though they were talismanic objects. In an episode of hipster-skewering sitcom Portlandia, someone builds such a place (“We had this lamp brought in from Detroit!”) and White appears, hovering on the veranda. When the Black Keys went to record in Muscle Shoals, they were upset to find that the original flocking on the walls had gone. White has fought a long war with the blues-rock two-piece (physically – he allegedly tried to fight one of them in a bar). He said he could hear his influence in everything they did.
White wrote Boarding House Reach much as you would expect him to, renting a flat in Nashville and hiding there with the same type of four-track recorder he had as a boy in Detroit. He did it with headphones on, in silence: “The most beautiful part was no one could get a hold of me.” As he descended into his childhood state, his own family life was put on hold. “They’re used to it. They know if I’m getting in the car, they’re not going to see me for a while.”

White with his former wife Karen Elson, 2010.
 White with his former wife Karen Elson, 2010. Photograph: Paul Morigi/WireImage

But there will be no more guitars fashioned from bits of wood these days, or twanged renditions of Froggy Went A Courtin’. He will “not be sitting here talking to you about Son House today,” he tells me. The old-timey Jack White was a means to an end.
“This was the hip-hop production style that I had stayed away from for years because I thought it was cheating,” says White. Always a bit of a rapper, he once produced the Insane Clown Posse. He has written some tracks with Jay-Z over the past few years, but they never came to fruition (he is vague about why). Instead, he got his hands on top hip-hop musicians: Q-Tip’s drummer, Kanye’s bassist, and many more, calling hip-hop production “the punk rock of right now”.
As a teenager, while other children would listen to songs without caring where the samples came from, the 14-year-old altar boy would yell at friends for not knowing that the EPMD’s Strictly Business stole from I Shot the Sheriff. His much older parents have something to do with this attitude – they were in their mid-40s when he was born, and like Ray and Dave Davies, he had siblings so much older that they felt like aunts and uncles. His reference points were different too, similar again to those of the musical generation above him – big band music, and Roger Miller. He likes to tell his mother she is older than sliced bread. “A kid at school would say: ‘Oh, that’s a cool airplane.’ And I would say: ‘Yeah, but it’s not like the P51 Mustang that they used in world war two.’”

Onstage at Glastonbury, 2014.
 Onstage at Glastonbury, 2014. Photograph: REX/Shutterstock

But more than smartphones, more than misheard samples, his biggest bugbear remains the press. When he introduces Boarding House Reach for journalists in King’s Cross in London the night after our interview, in the same trousers, he takes the mic with his head down, says a quick word about the title and walks out again, a standup comedian who hasn’t told a joke. The crowd nod their heads soberly to the new record. As it plays, you wonder whether White is still here somewhere, watching their faces from behind a curtain.
As he talks about journalism, his body drops further and further into the sofa, so that after an hour he is almost recumbent, elbow on a cushion, a hand caught in his hair. He stares into the distance looking faintly Byronic. Mojo magazine gave his new album three stars, he volunteers. “They did it to punish me for giving Q the cover story.”
For a while, the press saw him as a rather inspirational figure in the meat-and-two-veg world of guitar rock, partly because he worked with so many women: with Meg (he said she held the key to the White Stripes because she didn’t understand it); with Alison Mosshart in his band Dead Weather, then producing Loretta Lynn and Wanda Jackson. He even alternated his male touring band with an-all female rock band, dressed in white like the Virgin Suicides. He once recalled a dream he had had in which a 30ft lady rose in front of him and grew so large she couldn’t be contained by the room.
“Someone wrote something about ‘Jack White feminist’ once,” he says, looking a bit wistful. But times changed. People talked about his “woman problem” (including gossip about his divorce from Karen Elson), his control-freakery, and explored his stock rock’n’roll characters – devil women, little girls – with modern eyes.
On the new record there is a song called "Respect Commander" (“She commands my respect”). And a strange figure stares from the cover: the top half of the face is White’s, the bottom half a woman’s. “I don’t feel male or female,” he told Mojo, which became a headline. Has he ever wanted to give up press completely?
“Oh yes!” he cries. “Hell, yeah. The written word is just so powerful. It’s different when I’m on camera: people see your body language, your face. I could say to you right now: ‘I love your speaking voice.’ And that would be one thing. But if I wrote it on a piece of paper and slid it across the table towards you, that has a totally different connotation.”
That would be very strange. “It would be super-strange,” he says. “But it shows you how powerful it is.”
Boarding House Reach is out March 23, 2018 on Third Man Records. Cool, New Music: Playlist March 2018 Original Jack White Live Videos 2009 - 2014: