Florence and The Machine- Ceremonials

It’s Saturday night. I’m sitting at home being told that my Saturday night “starts right here”, the studio audience are whipped into a frenzy. A mentally ill person sings a Bruno Mars song and is told by Gary Barlow he’s gonna be massive and a famous chav disagrees. Then the guest performer is introduced by an overexcited VT. A statuesque figure graces the stage and there is silence.

The very idea of Florence performing on a show like the X Factor would be sacrilege to some of her devoted fans, but it’s an indication of just how massive she has become, and of course she makes a mockery of the contestants on this ludicrous show.  The performance is to promote her new album which has reached the number one position the very same day. Ceremonials.

It would be impossible for me to review this album without sounding like a gushing fan girl, but I have tried my best, so here goes:

The opener “Only for a night” has a mammoth task at hand. The first song on an eagerly anticipated second album, it could have easily been a dud, but is rather a slow ominous builder. The proverbial drum roll heralding the arrival of something spectacular.

For what is essentially a song about getting rid of a hangover “Shake it out” is a major contributor to the album. It’s clear to see Florence and producer Paul Epworth are fans of the echo. Epworth having previously worked with Jack Penate (prime example of echoey guitar music that isn’t The Smiths) and Friendly Fires the guy is an indie genius. The vocals are stacked high and layered upon like a teetering wedding cake, but the result is an astounding cathartic cannonball of magnificence.

The next track explores a darker subject all together. To fully appreciate “What the water gave me” you should read Virginia Woolf’s suicidenote to her husband as the lyrics reference her tragic death. Florence also draws on the influence of Frieda Kahlo's painting by the same name. The song itself takes on a sombre haunting quality, and the tension is heightened by the monk like chanting before the chorus creating a gothic masterpiece.

Flowing seamlessly comes “Never let me go”. The song moves into an altogether tender mood. Its use of minimal instruments and heavy focus on choral backing are a soothing caress. The soft backing vocals mimic “the arms of the ocean” and the steady rhythmic pattern is a perfect lullaby. Listen to it and feel your insides melt like butter on hot toast.

At first “Breaking down” appears to be a light-hearted melodic pop song strategically placed to pick up the pace and to lighten the mood. But it soon pulls back the cloak and reveals itself to be a story of a sinister creature in the corner of her eye. Florence takes us back to relive repressed childhood fears. The effect of a jovial melody contrasting with such dark lyrics is strangely compelling.

Listening to Florence's first album "Lungs" it would have been hard to imagine an album that equalled it' standard. But Ceremonials excels expectations. Darker themes, various textures of sounds and of course the accompanying choir  In some places they create a gospel sound but coupled with Florence's gargantuan voice and capacity to hold a note for a really really long time, the overall result is always a colossal sound. It's as if she's finished touring Lungs, sat down with cup of tea and thought: let’s just do the same again but bigger.

Edward Sharpe and The Magnetic Zeros, Home

Calling all Mumford and Sons fans. A new country-indie-folk superpower has arisen from the other side of the Atlantic, and its name is Saruman...lol jokes its Edward Sharpe and The Magnetic Zeros.

Their second US single “Home” sounds vaguely familiar upon first listen (often a good indicator of magnificence) and you may even find yourself whistling along to the melancholic opening like your some kind of romantic hobo. The whole thing smacks of sepia coloured summer nights and the echoic vocals are reminiscent of Phil Spector style girl bands from the 60’s, but the communal “hey” fired after each line reminds me of The Good The Bad and The Ugly theme. Having said that, this song would be perfect for those occasions when you’re riding your horse through the desert and stop to gaze meaningfully into the setting sun, or when you’re driving down route 66 in a red Cadillac on your way home for spring break. Maybe that’s just me.

Edward Sharpe (real name Alex Ebert) is accompanied by Jade Castrinos on vocals. He is drawling husky wilderness man to her honey tinged naivety. The magnetic Zeros themselves (of which there seem to be thousands) seem to set the general tone of things, holding back when the couple go all gooey eyed for each other (“chocolate candy Jesus Christ you’re the apple of my eye”) and letting rip again to form Mumford worthy crescendos that lift the spirits like serotonin filled balloons.

The climax does not disappoint, layers of harmonies, trumpets, and marching band drums the Magnetic Zeros go all out for an ending so joyful your heart wants to explode feel like the song has been leading to this magnificent moment all along.

So it’s quite good I guess

R.E.M Split

R.E.M. Split

After 31 years of making music together, the pioneering band have decided to call it a day. R.E.M announced the news on their website and issued the following statement:

  "A wise man once said, 'The skill in attending a party is knowing when it's time to leave,' "

 "We built something extraordinary together. . . . Now we're going to walk away from it."

Best known for songs like Losing my Religion and The One I Love, R.E.M., the band are widely recognised as having brought alternative music to America at a pivotal turning point in the industry; just as post punk turned into alternative. R.E.M. are cited as having paved the way for bands like Nirvana  and Pavement to follow, maintaining the idea that bands can “be big and still be cool”. 

Mammoth Sound

Band Profile: A versatile, eclectic 6 piece band from Tower Hamlets (14 -18 year olds) reflecting the vibrancy and multicultural energy of East London. Fusing their own unique style of hip-hop, jazz, soul, dub-step, drum and base and samba ;accompanied by powerful vocals in English, French and Spanish.


‎1. You describe yourselves as "a perfect concoction of hip hop and Jazz",
and watching your set at Underage Festival, you reminded me of The Specials
mixed with Jamie T who would you say your influences are?

Santarna: Jill Scott, Janelle Monae and Erykah Badu are probably my 3 at the moment
Mack : Jamie T, The Specials (Honestly!) Alex Turner
Cal : J Dilla, flying Lotus
Yves : James Jamieson,
Kenny : Eminem, Wale, Lupe, and Andre 3000

2. I hope I don't offend you too much here, but you look like the most
unlikely group of friends let alone band mates. How did you meet and come to
form the band?

4 out of 5 went to the Same School and we were all involved in music at Morpeth school.
And Mack ... Was at the right place at the right time!

3. How long have you been together for and do you encounter any problems
regarding "artistic differences"?

730 days since mammoth has began ... and its grown from there...
we do have artistic differences at times but we compromise

4. Bizarrely, Jack White has recently teamed up with macabre hip hop duo:
Insane Clown Posse. If you could collaborate with any artist living or dead
who would it be? 

Santarna : Jill Scott and Snoop Dogg
Kenny : Outkast and Soul Brass Rebels
Cal : Kanye West and Aphex Twin
Mack : One direction!
Yves : The Roots and Scientist

5. Who are you listening to at the moment, do you have any recommendations?

Yves - Thunder cats (Flying Loutis Bass players) Solo Album
- The Bug

Santarna - Big Boi - The Album Sir Lusious Left Foot
- Miss Baby Sol - The Album Before I Begin The Journey

Mack - Random Impulse
- Rizzle Kicks

Cal - Hundson Mohawke - Just Brought his EP On vynal!
- Kanye West And Jay z -The album Watch the Throne

Kenny - Sexion D'assaut
- Keny Arkana

6. As contributors to the UK music scene, what do you think of the current musical climate?

Cal : To be honest some of the UK Music About is quite boring and generic but theres a few artists coming from the underground that are making quality music

7. Now festival season is ending for the year do you have any up and coming gigs you're especially excited about

Were focusing on writing right about now but we have a few gigs so keep your eyes and ears about!

8. Where do you aim to be in 5 years time?

At Glastonbury!









Find out more on Facebook http://www.facebook.com/MammothSound

The art of the Cover

With the growing popularity of Radio One’s Live Lounge, and the chart dominance of Glee: the cover version has become something of a phenomenon. You need only look to Amy Winehouse and Mark Ronson’s version of Valerie, or Florence and the Machine’s cover of You’ve Got the Love to see how big a good cover version can become.  

Far from being a lame countdown of the best cover versions ever, this is just a selection of some of my favourites.

Amy Winehouse- Cupid

Original by Sam Cooke.

Winehouse makes a departure from achingly beautiful love songs and gives this soul classic a reggae referb’. Complete with drawling vocals and a steady bass, she may have been better known for the previously mentioned Valerie but I prefer this track because it shows a more playful side to her. Plus the reggae reggae beat is superb.

Tainted Love –Soft Cell

Original by Gloria Jones

If you’ve never heard of Soft Cell before they’re an 80’s synth band who write albums that are like soundtracks to gay sci fi musicals. Tainted Love seems like it was made in a Soft Cell shaped jelly mould it fits them so well. Featuring a fairground sounding organ and Marc Almond’s sultry vocal talents, Tainted Love is by all means an 80’s classic. 

Mumford and Sons, Laura Marling- Joleane

Original by Dolly Parton

In what appears to be a poorly lit barn, the Gods of Parton and folk came together to bring us this foot stompingly magnificent cover of Dolly Parton’s Joleane. Far from drowning in the crescendos of the Mumford’s slide guitar and banjo, Marling’s style of vocal lends itself to country music. The concoction made all the more potent by Mumford and Marling’s onstage chemistry. If only to have been there...

Lady Gaga –Viva La Vida

Original by Coldplay

Taken from the best of all lounges: The Live Lounge, Lady Gaga takes us back to her roots and performs a cabaret rendition of Coldplay’s Viva La Vida. There’s no onstage orgies, or costumes made out of UN. Secretaries, it’s just Gaga and her piano. Its stripped back like this that Gaga reminds us all that she really can sing. She may have fluffed her lines, but she makes up for that my improvising lyrics like “be my Chris and I’ll be your Gweneth” and “I know Yves Saint Laurent no he won’t call my name”. It’s still very much a Gaga performance with dramatic pauses (Presumably where she’s forgotten the words) and “oh ah oh” poker face type noises. To paraphrase Leona Lewis Its at moments like this make you realise what a marvellous creation the Live Lounge really is. 

The Future Heads- Hounds of Love

Original by Kate Bush

I always think the sign of a good cover version is when it’s so different to the original that you are only vaguely aware that you might have heard the song before. Hounds of Love is a good example of this. The two versions are on the opposite end of the spectrum, Kate Bush’s atmospheric masterpiece is transformed into an indie pop song. Nevertheless the Futureheads deliver a punchy version that lives up to the originals daunting standards. 

Under my Thumb- La Roux

Original by The Rolling Stones

Featured on the band’s Sidetracked album, what was a Stones song about “tellin’ yer’ bird what to wear” now becomes a track about venerability and conformity in relationships. With Jackson’s trademark falsetto vocals and a tapestry of funky beats, the rendition is the stuff of 80’s house music. The sound of Jackson’s fragile voice being wrapped in the stronghold of the hook tugs at the heart strings. *Waves fist at Mick Jagger*

A Case of You- James Bake

Original by Joni Mitchell

James Blake performed this cover on a session for Zane Lowe. His album was mercury nominated and is likened to a robotic version of The XX. Despite being stripped back of synths and dub step making machines, it follows Blake’s style of delicacy. The vocal so fragile you feel it will be blown away in a gust of wind, so you savour every moment. The sentiment, “I could drink a case of you” is a touching one, and it’s easy to draw parallels with Mitchell and Blake’s wavering voices. Utterly spellbinding.

 Concrete Jungle- The Specials

Originally by Bob Marley and The Wailers

Released by The Specials when Britain was going through recession and the streets of Coventry were lined with members of the National Front. Much like the rest of The Specials work this cover version still has resonance today. The chilled back reggae beats of Bob Marley are switched to a frantic ska induced panic “the animals are after me” by The Specials.  It’s interesting to see the progression in racial relationships represented so fervently by the reggae and later on ska community.

Florence and The Machine- Halo

Originally by Beyonce

Another product of The Live Lounge here, and in my opinion one of those rare occasions when the cover is better than the original. You can hear that Florence is sounding pretty nervous, but the song is perfect allowing her to stretch her voice and seems to draw the emotion out. The accompanying harps and violins creating a kaleidoscope of sounds that put Florence’s voice centre stage. 

Underage Festival

Underage Festival

Location: Victoria Park, Tower Hamlets

Date: Friday 5^th August

Line up: Bombay Bicycle Club, The Midnight Beast, Viva Brother, Janelle Monae, Crystal Fighters, Miles Kane... (Click for full line up)

Price: £31.50

Bands discovered: Cock n Bull Kid, Yaks, Mammoth Sound and Janelle Monae

If you were somewhere between Mile End tube station and Vitoria park last Saturday you might have noticed the stream of “13 to under 17’s “(ahem) gracing the streets. Chinos and boat shoes holding up traffic, buttoned up shirts and brogues clogging the tubes, you would be forgiven for mistaking it for some kind of indie school trip. Alas no, they were making their way to this year’s Underage Festival to see the likes of Bombay Bicycle Club, Miles Kane and Crystal Fighters, a somewhat lacklustre line up following previous years.

Playing an afternoon slot on the main stage, Miles Kane came on in a suitably retro Nehru shirt and paisley patterned trousers. His 1960’s apparel totally in synch with what he was playing. Each song sounded as if they were a classic Bond theme, and had that distinctive whiney guitar sound that Kane gave to the Last of the Shadow Puppets. For the final song, the crowd were whipped into shape by the gargantuan tune that is Inhaler.

The Midnight Beast played a rocky set, battling technical difficulties with a unique concoction of Beastie Boy style parodies and charmingly juvenile humour, and drew a frenzy of screaming girls. (The phrase Beatlemania springs to mind) Accompanied by two male dancers, a cheerleading squad, comedy props (including a massive Kanye West mask), and with a selection of well loved parodies in their back pockets- The Midnight Beast could do no wrong.

This year’s festival played host to a vast amount of stalls, some selling niche clothing and artefacts, others bespoke cupcakes. But dwarfing these was the amount of charity and promotional tents this year: War Child, Breast Cancer awareness, the Independent’s sister newspaper “I”, the Tate Gallery. The list goes on. The Tate tent ( it’s fun to say it fast) had people making badges from magazine clippings and spray painting tote bags, as well as giving away free travel cases. With a copy of the “I” you got a souvenir canvas bag, a publishing company were giving away free stacks of vampire books. The Olympic torch was even present and available for photo opportunities. Also, an ingenious scheme to get people to tidy up by collecting bottles from around site by enticing them with free t-shirts, ponchos and bags. The amount I invested in a ticket was probably re- gained in the amount of fee stuff I hauled home.

Over on the intimate “Music Space Stage” London based band Mammoth Sound played a high energy set to an excitable crowd. With a distinctive sound that comes from having both a sax player and an MC, Mammoth Sound brought a fresh mix of ska and hip hop to the festival. Definitely ones to watch.

It’s clear to see that Janelle Monae has had a background in theatre. A band dressed in uniform white shirts and bow ties come to the stage, while a circus ring leader hypes the crowd up and announces the star’s arrival. A short film is played before three hooded figures walk on; their backs turned to the crowd and begin to move in a way that can only be described as groovin’to the beat. As the vocal kicks in the middles figure whips round and is revealed as Janelle Monae herself, wearing the androgynous outfit of black trousers white shirt and tie, hair coiffed to perfection. The band are as much a part of the performance as she is, there are dancers an orchestra and a brass section. For a stripped back rendition of Nat King Cole’s Smile Monae’s vocals stun the crowd and dance through the song with ease. Everything is seamless. Her set is perfection.

Underage Festival has been renowned for having its finger on the pulse of the UK alternative scene: Announcing names that you’ve never heard of early in the year, but by the time the summer rolls round you find that most of the line up are the hottest bands on the block, making appearances on Later with Jools Holland and featuring on BBC polls. However this year has seen a lull in proceedings, last year’s indie/hip-hop headliner MIA, replaced by a folksy Bombay Bicycle Club- who frankly (as much as I like them) aren’t a headlining act. Granted the festival hasn’t stooped so low as to delve into the mainstream, it’s maintained its reputation for housing what’s cool and alternative. But it would have been nice to see some bigger names, maybe a touch of Friendly Fires or Hurts would have just brought more weight to the line up. Why not just go the whole indie hog and book Best Coast?

Nevertheless, Underage festival is still perfect for the music obsessed teen seeking that festival experience, you don’t have to be 18, the tickets are relatively cheap, and you get to see a load of great bands in one day.

Hawaiian Air- Friendly Fires

The second single to be released from "Pala"and Dubbed by comedian Josie Long as "The Ryan Air song" Hawaiian Air follows a new couple's plane journey to none other than Hawaii .

  Friendly Fires completely capture that sense of pre holiday excitement you get: as you plug in your seatbelt and browse through your complimentary copy of "sky mall". The synths and bongo-like drums that are so idiosyncratic to their music are ever present throughout and are coupled with energetic vocals that climb as the song goes on.

Gliding through the chorus into stripped back chanting of the words "Hawaiian Air" you can picture yourself peering out of a plane window over a tantalisingly blue Pacific. The song has room for tender asides that give an insight to the couple's relationship "as we land you pinch my hand, your still here" is  murmured by lead singer Ed Macfarlane but  feels something of an after thought to the joys of "watching a film with a talking dog".

As the plane comes into land, previous energies are summoned and redoubled  to create a fantastic crescendo of klaxons, drums and array of synthy bleeps and blops that are more like organic orange juice rather than artificial squash. A crescendo which never fails to induce manic dance spasms in those who are exposed to it. This song would the perfect accompaniment to a setting Honolulu sun, or failing that an antidote to a sunless summer.

How to be a Woman- Caitlin Moran

For anyone who has not already done so I would highly recommend purchasing a copy of this book. It provided me with many hours of merriment and was for want of a better phrase "un-put-downable". The book discusses feminist issues without being all shouty and Loose Women in yo' face and takes the image of feminism from this 

to this 

Which can only be a good thing.

For me the best part was the chapter dedicated to the re telling of a visit to a strip club, followed closely by the account of a week spent with Katie Price- only to discover that underneath that front of complete idiocy their lied puddle deep depths. Weather parting with Gaga in a Berlin gay club or discussing the merits of naming your breast after double acts (think Simon and Garfunkle) "How to be a Woman" says things that will make you nod along in total agreement whilst simultaneously waving  a fist at the "damn patriarchy!".

Lounge on the Farm - (apologies for the lateness)

Based on a working farm in Canterbury Kent, the three day event "Lounge of the Farm" took place on the 8^th July this year, with a sturdy line up of The Streets, Ellie Goulding, Graham Coxon and Echo and the Bunnymen.

Queuing for entry at this year’s festival, the skies above Canterbury were what can only be described as ominous. Black clouds looming above while hoards of Mums wrestled against the wind with their Cath Kidston macs. At one point I witnessed the epitome of the middle class festival family- a baby in a pram loaded with picnic bags stools and weather proof clothing (who I can only presume was named Marcus or Edmund) feasting on an assortment of peas and runner beans from a Tupperware box.  The class balance was restored by the male specimens behind us speculating as to how much “virgin asshole” they would “get up on (their) faces”.

We got to the main stage in time to see Pearl and the Puppets. Who as it turns out its just pearl with her acoustic guitar exuding gentle waves of niceness . The rest of the early afternoon was uneventful, leaving enough time to explore the festival. The site itself was relatively small, consisting of four fields one for camping, another for the cabaret acts and circus performers. The third had dance tents, poetry and comedy while the fourth held the main stage. It’s easy to see why Lounge on the Farm is marketed as a family event as there was plenty of stalls and activities even a children’s section “lil’ Lounge”, as well as a myriad of various food stalls (which I could have spent all day sampling).

As we approached the evening, the main stage stepped up a gear. Dance act Totally Enormous Extinct Dinosaurs dressed in a flamboyant Red Indian costume played a red hot set to a crowd already eagerly anticipating the arrival of the headliners. The ball was momentarily dropped by grime artist Devlin who arrived on stage 30 minutes late rapped about how hard his life was in gangsta’ speak (white noise to the Cath Kidston crew)and articulated himself between songs through extensive use of the word “fuck”. Things got going again with the arrival of the Vaccines. The hottest band on the block, opened with the stupendous “Wrecking Bar (Ra Ra Ra)”. The crowd went stir crazy for the likes of “if you wanna” lead singer Young taking to a freestanding amp for the climax of the song. I have to say that their lead guitarist is a textbook example of a great lead; Freddie Cowan was a constant state of excitement whilst still managing to look effortlessly cool. He even did the bite lip and squint combo whilst playing a rift and looked cool. For a fairly indie and niche band at a mainstream festival, The Vaccines certainly shook the farm.

As the sun set over the festival, the roadies prepared the stage for headliners The Streets. The crowd were buzzing in the wake of The Vaccines. After chants of “Skinner Skinner” reached fever pitch the band finally came on stage to rip-roaring screams. I’ll be honest; I am not a fan of Mike Skinner or The Streets. So standing in a smelly crowd whilst being rained on to watch a band I’m not that keen on was not an exciting prospect for me. Having said that, when they got going they were actually really good. The singles like “Dry your eyes mate” and “Heaven for the weather” had me singing along and much to my surprise, generally having a nice time. At one point Skinner re dubbed the festival lunge on the farm and hacked out the appropriate lettering on the ply wood sign that labelled the stage. After a triumphant set the band came back on for an encore and played the brilliant “Fit but you know it”, the ultimate in lad anthems and the perfect note to end the day on. 

Adele 21

Adele- 21

 The years best selling album so far, Adele has gone from mild obscurity to household name- all thanks to that performance of "Someone like you" on the Brits. Now short-listed for the Mercury music prize, 21 is reaching dizzying heights. 

The album tells the familiar tale of breakup and love lost, Adele's voice is thick with despair but is resigned to the fact that her love has moved on "I guess she gave you things I didn't give to you". With Turning Tables the simplicity of the delicate piano makes the spine tingle while her turbo powered gospel voice is a recipe for heart ache.The subtle moments of the album are the most blissful. But when the tempo picks up Adele spreads her wings and unleashes her voice especially on the stompy Rolling in the Deep. Which brings Aretha Frankiln's R.E.S.P.E.C.T to 2011 ("your gonna wish you never had met me")

 21 has achieved that rare equilibrium of pleasing both the masses and the critics. However I don't think that 21 is up to the standard set by it's predecessor. 19 was a master class in writing an album that was both upbeat and in other places mellow, a pick and mix of blues, soul and old school rhythm and blues. There wasn't so much mourning the loss of love as revelling in its bask.19 was an 18th century cottage, each nook and cranny filled with different textures and tones. Upon each listen I found something new. Whereas 21 is more like a minimalist open plan apartment, one constant theme of heartbreak painted on every wall. 

Maybe 21 will serve to be Adele's break up album, and as she goes on to produce a catalogue of masterpieces 19 will be seen affectionately as the first album, before she got her heart broken. 

Nice view, great big wuss

Last week my sister's Guide pack went to St Margaret's bay for their session. Feeling rather mellow, I went down there with my camera to take a few shots here are the results .

Upon returning to the car to leave, I realised I was wearing flip flops. The rubbery shoe slipped off the smooth pebbles and resulted in me loosing my balance on several occasions. Having removed the hazardous shoe I attempted once more to climb the slope of slippery pebbles, this time I shakily stepped up the beach trying to ignore the pain induced by standing on large rocks and focusing on not crying. At one point I contemplated the option of getting someone to come down and carry me the rest of the way, but the gaggle of pre pubescent girls  being picked up by their parents brought about the realization that it was probably best just to opt for the traditional walking approach. When I reached the summit a wave of relief washed over me and I was met with a renewed awareness of how much of a wuss I really am.

No more of this tomfoolery please...

Treading the commercial strewn landscape of today’s music channels, it’s hard to avoid a slap in the face from a whip brandishing Rhianna or to be knocked aside by the grinding hips of Jessie J. With wide circulation of videos over the web and on TV, kids are being bombarded with sexual images.  Its time to shake up the industry: for the sake of future generations.

The ridiculously over sexed dance routines seen in today’s videos usually follow the familiar blueprint of: a leading female throwing some seductive shapes (the orgasm face is a favourite); followed by pile of beefcakes- sometimes a solitary cake- tending to nuzzle the neck of the woman or opt to stand in lines pouting whilst being fondled by the woman. It’s scary to think that future singer songwriters are not only being fed this crap, but being allowed to believe that dressing sexily or appearing attractive is a fool proof formula for success.

Jessie J- Do it like a dude

For stars like Cheryl Cole to be objectified and for their appearance to take higher importance than their “talent” or even the song itself is a step back in time. How do Katy Perry’s custard spewing breasts (California Girls video) demonstrate any social progression from the dark ages of  Barbra Windsor's bra  pinging open in Carry On?

Its’ almost as if to get into the top ten there is a checklist for female artists. Must have unrealistically skinny figure, be fitted out in the most minimal amount of clothing possible and must be capable of thrusting whilst lip syncing. No wonder young girls are feeling more pressured than ever to look and behave in a certain way, if the people they model themselves on are day time versions of Spearmint Rhino shows. What hope do women have of either being taken seriously by our male counterparts in the pop industry , or in shaping the next generation of females who don’t have eating disorders or body hang ups.

The counter argument is of course that for women to be seen in a sexually aggressive position empowers them to take control of a drooling audience of men. I’m not suggesting that labels start signing Vestal Virgins or bind artists to a lifetime of chastity. I’m just pointing out that it would be all the more empowering to make it into the charts with a decent song rather than a sexy video. Its only through a much needed cultural revolution that we can hope to achieve an equilibrium of gender in the music industry. The sooner it comes the better