“Should be shaking it loose, but you do it alone,” Mann sang in her measured, tremulous way, her tone offering comfort while acknowledging the obvious: Comfort can only go so far. When the kind doctor at Evergreen Hospital told her she wouldn’t be making it through what had, a day earlier, seemed like a normal winter bout, she kept repeating, “I’m so surprised.”) As my visit to a sickbed turned into a funeral trip, I wandered around the wet Seattle streets, listening over and over to Aimee Mann’s song “ Goose Snow Cone.” With its circular chord progression and plaintive stair-step melody, this little song mirrored the gray wash of my emotions. Still, the virus that claimed her came fast, and we were inevitably unprepared for her exit. She was 93 and had been slipping into twilight for a while. I want to use the rest of my time with you to talk about a few songs that served that fundamental, precious function for me this year. That’s the thing that doesn’t change about recorded music, whether it comes to us via a playlist or a 180-gram vinyl special edition. She was just happy, she said, that others might have the chance for it to touch them, too. “That album was everything to me,” Gaby Moreno, who stole the show singing Roberta Flack’s “ Angelitos Negros” at our launch, said of the elder singer’s First Take. Many people have thanked me for the list, specifically because an album they hold as dear as a diary is on it. They yearned for their idol, but it was clear that even more than that, they wanted to claim his easy confidence as their own.) Turning the Tables simply sought to remind people that albums by women were as central to those ch-ch-ch-changes as the men’s masterpieces generally acknowledged as cultural milestones. (I saw 2,000 teenage girls lose themselves in the rock ’n’ roll fantasies of Harry Styles at his Ryman show this year. Deep listening works against essentialist gender divisions-sound seeps in, and like a hallucinogen, alters the listener’s sense of inner space, dissolving habitual boundaries around the self. The wild tales Kate Bush etched into vinyl on albums like Hounds of Love shaped my youthful bravado, just as the Clash’s London Calling did for so many punk boys I knew. Carole King’s Tapestry had been to the teenage Jill what Dylan’s Highway 61 Revisited was to the mostly-male rock criterati. Organizational Revenues: $20,000-$50,000/yearįor more information, please visit canon-shaking challenge was motivated most deeply by the knowledge that women making music had changed our own lives. We aspire to a world where all women have safe, affordable, access to life saving healthcare. Women's Health - Access to women's health care services, preventative screenings and education of women in regard to their own health care needs.We work to encourage grassroots peoples' movements to foster creative, collective pathways toward a just world. Social Justice - Grassroots efforts to advance social and racial justice through the strategic use of arts and culture. We work to make the arts accessible to those who have a passion to pursue and develop their creativity and their art.
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