Liz phair dating
Images, videos and audio are available under their respective licenses. We (Oath) and our partners need your consent to access your device, set cookies, and use your data, including your location, to understand your interests, provide relevant ads and measure their effectiveness.Hearing the entirety of the new boxed set is to realize more than ever that the celebrated shock value in a handful of the songs was just part of the story in an enormous outpouring of creativity that helped redefine not just what a woman could write about, but a man, too, even though hers remains a fairly inimitable voice, whether we’re talking about what came out of her mouth or from below the capo.At the Masonic, that voice sounded literally unchanged, along with her appearance.Select ' OK' to allow Oath and our partners to use your data, or ' Manage options' to review our partners and your choices.Tip: Sign In to save these choices and avoid repeating this across devices.
Ditto for “Ant in Alaska,” another track it’s hard to believe she never officially recorded, which she acknowledged writing at home in Chicago while “being just super-lonely.” It’s close to being a conventional — if terrific — lost-love song, even though the Phair of the early ‘90s peppered it with angry rejoinders like “Any shitty little tip-off would do.” Phair, always a conversational writer, was in a reflective mood between songs, too.“It’s been really interesting getting to know these old, old, old, old songs, and then to remember what it was like at Oberlin when I was there,” she said.“I think my method of creating was to go to a party, not have a guy I wanted to talk to me talk to me, and go home and drink beer and write a song.” Time has marched on, but at the Masonic, we were all Oberlin girls.“He’s just gonna stand there behind me every song,” she joked.
“I remember when I first put out ‘Guyville,’ I went to Los Angeles, which probably pissed off Matador (her then-label), but I wanted a free trip to L. And I remember putting on ‘Guyville’ in some executive, super-duper office and just suddenly realizing for the first time that my guitar on the whole album was out of tune.” Could’ve fooled us, but it does speak to the savant quality that made “Exile” so refreshing in ’93: Phair wrote, and played, like a one-woman brain trust who hadn’t spent a lot of time over-evaluating standard chord progressions or tunings, so the music sounded as head-cockingly different as the grabby combination of poetry and locker-room talk in the lyrics.
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