Fans from across the world travelled to Camden, north London, yesterday to celebrate the unveiling of a bronze statue of the late Amy Winehouse. Collaboratively designed by sculptor Scott Eaton and Winehouse’s father Mitch, the statue depicts Amy with her trademark beehive bouffant and a star of David.
"The hand on the hip, the turn of the head, the grabbing of the skirt, the turned in foot - these are all small elements that contribute to the personality of the piece,” Eaton told The Guardian.
The unveiling marks the three year anniversary of Amy Winehouse’s untimely death after a long, public battle with alcohol and drug addiction. Following her death by accidental alcohol poisoning, Winehouse’s father established The Amy Winehouse Foundation that focuses on providing drug abuse in youth communities.
"They don't put statues up for people who are with us anymore so it reinforces the fact that physically she's gone but spiritually she'll never leave us,” said Mitch Winehouse after adorning the statue with a living red rose. “We shouldn't be here but we are, this is the reality and we've just got to make the most of it. Getting people to come here, spend some time with Amy and put a flower in her hair and remember her in a very positive way. That for me is wonderful.”
Watch video of Amy Winehouse’s memorial statue unveiling AFTER THE JUMP...
Today in ridiculous right-wing delusions: Evangelist Lou Engle claims he and 100,000 can pray HIV/AIDS away.
Here, because the world demanded it, is an Alexander McQueen dress made of 50,000 gummy bears.
Where were the bells and whistles for Michael Musto, the journalist who came out long, long ago? "Openly gay was the only way to go, and it did cause problems along the way, but I still wouldn't have even considered being in the closet... I stood my ground, but the gay groups paid it no notice, preferring to reward either closet cases or the types of gay who are tastefully out--i.e., they mention it once in an interview, then never again, certainly not while on camera."
Listen to rapper Nas and the late Amy Winehouse's collaboration, "Cherry Wine."
Just a few months after asking for forgiveness for consistently bashing gay people in his music, Reggae artist Beenie Man offers this comment homosexuality: "I cannot, I do not support a gay lifestyle, because it’s not wholesome to mines. But I don’t have the right fi tell a man say, 'Your decision is wrong.' I don’t have the right if tell a man say, 'Who you love is the wrong person.' It’s not my right. None at all whatsoever."
In the ten years since he began recording as Owen, Chicago native Mike Kinsella has managed to wage as idiosyncratic a career as reality will allow. His sixth album, Ghost Town, represents a synthesis of sorts — where complex folk and songs about fatherhood ("O, Evelyn") intersect with understated guitar solos and oddly innocent sexual suggestions ("Too Many Moons"). Kinsella's paradox, then, is not so much that he's conflicted as it is that he's integrated: Young male singers with acoustic guitars have a tendency to dwell in maudlin strokes of misanthropy, but Ghost Town is more playful than that. Even its tensest moment — on the vibraphone-assisted "No Place Like Home" — channels adult frustration through territorial playground innocence; its harshest pronouncement ("F*ck you and your front lawn") is too cute to generate any ill feelings. At a time when pop records mistake arrogance for empowerment, Ghost Town disarms us with a rare insightful humility.
Deerhunter's Bradford Cox releases a new album under his Atlas Sound guise this week, and in a recent interview with Rolling Stone, Cox was decisive in his mission statement: "Hetero-centric, boring scruffy 20-year-olds are ruining the f*cking face of rock and roll," he said. So what's missing? "Queerness. Homoeroticism. Boyhood."
The Museum of Modern Art has tapped Antony Hegarty to write, produce, and perform a "performance event" at Radio City Music Hall early next year: "Envisioned as a meditation on light, nature, and femininity, 'Swanlights' includes songs from all four of Antony and the Johnsons' albums set to symphonic arrangements by Nico Muhly, Rob Moose, and Maxim Moston."
This week's essential new streams and downloads: Two songs from the forthcoming posthumous album by Amy Winehouse have leaked. Check out "Our Day Will Come" and "Like Smoke," which features a guest turn from rapper Nas. Dashboard Confessional's Chris Carrabba is offering a free four-song download called Covered in the Flood. The EP consists of reworked material from Big Star, The Replacements, and more. The first song from Nada Surf's forthcoming seventh album, The Stars are Indifferent to Astronomy, is called "When I Was Young." And Björk released a new clip for "Thunderbolt" as an exclusive video stream at Boing Boing.
Dresden Dolls' Amanda Palmer invited acclaimed out singer-songwriter (and Magnetic Fields mainman) Stephin Merritt — in addition to Moby and author Neil Gaiman — to perform a Rocky Horror Picture Show classic for her appearance on the Late Late Show with Craig Ferguson. It's bizarre! But it was Halloween, of course.
SOUND & VISION:
Architecture in Helsinki — "W.O.W."
The latest single from Moment Bends is a stark, but effective electropop track that demands a stark, monochromatic video treatment. But don't interpret that to mean Architecture in Helsinki have gone dark: Nothing says feel-good like swimming with dolphins and coming in for the hug.
Matt Cardle — "Starlight"
Carpenter-turned-UK X Factor winner Matt Cardle recently performed at London's G-A-Y because, well, he knows the gays loved him from the second he showed up on TV in his plaid shirt and painter's cap. The video for Letters' second single, "Starlight," reads more like a counterpart to Katy Perry's "Fireworks" — sans the exploding bra — but the song is in the classic anthemic Britpop mold of Coldplay and Embrace.
Mates of State — "Sway"
"Sway" is the kind of ebullient indie-pop song you'd throw on at the beginning of a road trip, but for Mates of State, the song has something more to do with winding up in a Lewis Carroll–like world and meeting a moss-growing, blue-skinned man who is capable of giving you the prom you never had as a teenager. By the clip's end, you'll concede they have a point.
Simone Battle — "He Likes Boys"
The first US X Factor cast off to release a single, Simone Battle's "He Likes Boys" tells the story of a woman who has terrible gaydar, bathes in sequin singlets, and decides that having a "new gay best friend" is just as great as seducing him. It's convoluted! And awkward! But while I can't figure out whether or not the song is cute or condescending, I'm confident this won't be the last contemporary pop song written by people who watch way too much Will & Grace.
The second album by Florence and the Machine is anything but a retreat: On Ceremonials, Florence Welch sacks subtlety for the kind of epic grandeur we normally associate with prog-rock or '70s AOR — the most significant difference being its sheer lack of pretentiousness and Welch's uncanny ability to transcend her own creation. In other words, despite the larger-than-life instrumentation and broad musical strokes, this album is clearly the vehicle of a vocalist. It's all an incredible balancing act, of course, and Adele producer Paul Epworth does his best to reign it in and keep it focused. Sometimes, the tension is almost inconceivable — "Never Let Me Go" is like the nonexistent lost collaboration between Sarah McLachlan and Siouxsie and the Banshees, while "What the Water Gave Me" sounds like Trentemøller got his hands on a PJ Harvey song — but when the elements come together for songs like "Shake It Out," you're almost shaken out of the experience of listening to an album and actually drawn inside of it. Ceremonials is more than simply expansive; it's inclusive.
The long-awaited sophomore album from Jay Brannan has been given an early 2012 release date, and our first taste of the record is a song called "Greatest Hits" — which is streaming on Soundcloud and available on iTunes now. The as-yet-untitled follow-up to 2008's Goddamned features production by David Kahne, who has worked on records by Paul McCartney, The Strokes, k.d lang, and Kelly Clarkson to name a few.
The first posthumous album by Amy Winehouse is set to be released on December 5. Lioness: Hidden Treasures will feature 12 tracks including unreleased music, alternate versions, two new songs, and covers of material by Leon Russell and the Shirelles.
The McGarrigle-Wainwright annual family Christmas show went on a two-year hiatus when Rufus Wainwright's mother, Kate McGarrigle, became ill and eventually succumbed to cancer in 2010, but the show is coming back for two nights in December. Also on Rufus Wainwright's docket: a new album with Mark Ronson producing and the Dap-Kings as his backing band. "I'm making an actual pop record," he says. "It's been a while since I've done that."
R.E.M.'s Mike Mills on the future of Michael Stipe: "I don't think that [music] is where his passion lies. I think he wants to be in the visual arts. I imagine Michael will do a lot of sculpture and photography. I think those are his big interests now."
Patrick Wolf recently recorded a live set for SHOWStudio's Café Concert Series in London. High-quality video from the concert is streaming online now.
If you have yet to familiarize yourself with The Good Natured, do yourself a favor: The band — featuring 20-year-old singer/songwriter (and charismatic ingénue) Sarah McIntosh — releases the Skeleton EP this week and set out on their first American tour early next year. The new record is streaming on Soundcloud now, and features the irrepressible "Wolves" — produced by current Charli XCX producer and "Dancing On My Own" co-writer Patrik Berger.
Adele has been forced to cancel all of her remaining scheduled appearances in 2011 due to a vocal cord hemorrhage that has driven doctors to recommend throat surgery. "I have absolutely no choice but to recuperate properly and fully," the singer says, "or I risk damaging my voice forever."
SOUND & VISION:
Westlife — "Lighthouse"
Despite selling 44 million albums over their 14-year career, Westlife have always been somewhat of an easy mark in the English boy-band canon, but I've always liked them — and the fact that Mark Feehily has spent the last six years in the group as an openly gay singer in a female-dominated market speaks to their indifference to the capitalist boy-band stereotype. The group's forthcoming Greatest Hits collection will be Westlife's final album, and "Lighthouse" — written by Take That's Gary Barlow — is its lead single.
Modeselektor — "Shipwreck" (feat. Thom Yorke)
No one is making tuneful abstract techno like Modeselektor these days, and on their newest album, Monkeytown, the German duo has once again commanded the attention of Radiohead's Thom Yorke, who already provided vocals for their 2007 single "The White Flash." With "Shipwreck," the band invokes classic Aphex Twin while Yorke weaves his trademark falsetto in and out of the dense rhythm. It's not easy listening, but it sits right up there with anything from The King of Limbs.
Martin Solveig & Dragonette — "Big in Japan"
He's been confirmed as one of a handful of producers working on Madonna's new album, but until we get to hear those results, there's this: Martin Solveig teams up with Canadian trio Dragonette for the fourth single from his latest album, Smash, and another brazen round of broad-gestured, big-room French house.
Jessica 6 — "Prisoner of Love" (feat. Antony)
Former Hercules & Love Affair singer Nomi Ruiz formed Jessica 6 in 2008, but the band truly arrived earlier this year with the release of See The Light — an album whose flirtations with disco, R&B, and classic house reveal a sophisticated relationship with genre that leaves plenty of room for charismatic singularity. Antony Hegarty's guest turn on "Prisoner of Love" is only meant to remind you that even disco sings the blues.
Amy Winehouse's was killed by an alcohol level in her body that was five times the legal limit, a coroner has ruled:
No cause of death was determined by an initial autopsy, and though she had struggled with addictions to drugs and alcohol throughout her life, her family said over the summer that a toxicology report found no illegal substances in her system.
A ruling delivered Wednesday by a coroner in Britain, Suzanne Greenaway, said the official cause of Ms. Winehouse’s death was “death by misadventure,” The Associated Press reported. Reuters reported that an inquest found that the singer had 416 milligrams of alcohol per 100 milliliters of blood when she died; the legal driving limit in Britain is 80 milligrams.