Amanda Palmer, Adam Doleac, Caroline Romano, Luka Kerecin, and Olivia Castriota share the trials and tribulations of life as a musician in the wake of mass quarantine and social-isolation due to the novel coronavirus
"I feel like a cross between a minister and a rock star..."
...reports punk singer and activist Amanda Palmer from isolation in New Zealand. Thanks to the coronavirus pandemic, the music community has been in a frenzy of adaptation. Palmer, given her community-focused approach to music, has seen her usual skill-set suddenly become essential for thousands of performers. "So many artists are in need. I want to help them set up Patreon pages, and I want to make sure they feel safe asking for help. It's hard for artists to ask," explains the former Dresden Dolls lead singer and author of The Art of Asking, "I've been collecting people in emotional crisis on the internet since 2002. I'm right in my element. But, boy, does it feel strange."
Pivoting to crowdfunding may now be a saving grace for many acts. The overnight decimation of the live music economy, across all genres, has thrown a question mark over the income of countless performers. "Artists [don't make] money off digital streaming," clarifies Nashville-based country music singer Adam Doleac, "85% of [most artists'] income is live show pay and merchandise sales from those live shows. You're now taking 85% of an income, and it's gone for an undefined period of time."
Adam DoleacPhoto by Matthew Berinato
"A lot of people don't realize how far 'not playing shows' trickles down. I got all these guys in my band that are no longer getting paid. They rely on that money, they've got families," the Sony/ATV signee continues, "It's whole teams that have been shut down. That's been the hardest part, figuring out how to keep those guys comfortable as we work out how to get through this time."
While signed acts and their support systems are all feeling the squeeze in the wake of the COVID crisis, how do smaller up-and-coming acts fare? "I've canceled shows with Sofar Sounds, live recording sessions with LeestaVall, and planning my summer tour has been put on pause," lists Olivia Castriota, a New York-based R&B singer. "As an independent artist I also finance everything myself [through side jobs]. In a matter of days, all of my Airbnb guests for the next eight weeks canceled and all Bars and Restaurants in NYC went to take out only, so... welcome to unemployment."
"Without people working and having any significant income all around the world, art and music will suffer tremendously," adds Luka Kerecin, Croatian lead singer of prog-metal band Wings Denied and lecturer and marketing specialist at the United POP Academy. "I was supposed to be in the U.S. in March to play with Wings Denied at SXSW... but that did not happen due to corona." Whilst the recent broadening of unemployment benefits will hopefully help smaller acts in the US, the long term future is still uncertain, especially given the widely-reported difficulties many have had with signing up for unemployment benefits. Festival season, a crucial time for smaller acts, has been all but snuffed out entirely, with name-brand events across the globe canceling or rescheduling and younger festivals facing possible extinction.
However, social distancing has led to the now near-ubiquity of the Facebook/Instagram/Zoom live show. These formerly niche elements in the artist's promotional toolkit have now become a primary method of audience engagement. "I did a show on Instagram last night, [and] we played for more people than we would have played for at the actual show," enthuses Adam Doleac, "I think 45,000 people signed on to watch."
There are also issues related to the almost entirely digital marketplace we now find ourselves in, as pop-artist Caroline Romano points out. "I don't want people to lose the need for live shows," she cautions, "I'm afraid the number of Instagram and TikTok followers an artist has is going to become more important than ever because social media is the only way artists can get discovered right now." With online engagement already becoming a dominant factor in musician's lives (certain managers, bookers, publications, and labels will refuse to even consider talent without a certain baseline level of social media traction), live music was one of the last true equalizing factors.
Luka Kerecin of WIngs Denied
These sentiments are echoed by Kerecin. "For my band, Wings Denied, which exists in the more niche genre of prog rock and metal, live shows are the number one way to connect with fans," he details, "Other more commercially friendly genres have it a little easier as they can always pull through with sponsors, radio play, etc. but not being able to play and tour at this moment is a massive challenge for us."
Established artists are also not immune to the toll of the COVID fallout, as Doleac points out. "Bigger acts, Kenny Chesney and the like, they have their [support crew and bands] on salary. They have to continue to pay these guys, but without any money from shows," he explains matter-of-factly, "It's a lot of money going out, and nothing coming in."
Even artists still in high demand, like Amanda Palmer, have struggled with the sudden tectonic shift. "I've been asked to do a billion streams and casts, but I have just barely been able to keep my sh*t together... I feel so overwhelmed," she shares, "I was wrapping up the final week of a year-long global solo piano theater tour when the sh*t hit the fan." Though the singer only had to cancel one show, the timing of the crisis led to her and her family moving into an AirB&B in New Zealand on short notice, a stressful situation for all involved. "The house has a piano. There's internet," she says, reflecting on the positives of the situation, "I'm going to take a few days off for my mental health, and then I'm going to be a streaming machine." In the time since this interview, Palmer has become heavily involved in the Artist Relief Tree, creating the "Art is Alive" artist's resource guide and many more projects.
The digital age being what it is, artists still have it well within their purview to create and release content. "Coronavirus shuts down a lot of things, but new music is not one of them," confirms Doleac, "I've got my EP Famous coming out April 17th, which I'm really excited about."
"I have my biggest project to date scheduled to release early summer," adds Caroline Romano, "It features an artist who I've been a big fan of for such a long time, and it's actually surreal to see my name on the song with him."
Similarly, Wings Denied have an album coming up in the near future. "The final mixes are in the works. Everything was recorded last year," says Kerecin, "Grammy-nominated producer Joel Hamilton (Highly Suspect, Bonobo, Bomba Estereo) is, as you can imagine, an incredibly popular and busy guy, but thanks to the Corona situation, he has managed to find some time to polish the new record and we are incredibly grateful for that."
Olivia Castriota raises an interesting point about the new music cycle in this time. "It just feels like such an inappropriate thing to do [to be overly promotional] at the moment when it feels like America is crumbling. Everyone is losing their jobs and we barely have money to pay rent," she says somberly, "It feels like, why would anyone care about my new release at this moment in time when there are much bigger things at hand?" Though she does go on to add, "I'm hoping to put some makeup and a bra on in the next week and record some new selfie singing videos, but again finding the motivation is hard."
The emotional toll and its effect on productivity is certainly not to be taken lightly, with the pressure on indie artists to be an active online presence now stronger than ever. Romano corroborates: "Every pop artist in the world is trying to promote themselves through social media. But, in a time when the entire world is online more than ever, it's so much easier to get lost."
Palmer sees continued output, coupled with compassionate outreach, as the only way forward. "This has always been our job as artists. Connect, connect, connect. And when things get hard and dark, connect harder," she declares with candor, "I've got a whole list of projects in my head: leading meditations and sharing sessions, teaching some yoga, doing collaborative songwriting sessions, chatting to people who are sick…"
Congruously, Kerecin sees the moment as one to seize and reaffirm public appreciation for the arts. "What is everyone doing right now when quarantined? Watching shows, movies, listening to music, watching live-stream concerts," he points out, "I think we all should lobby and push this narrative aggressively in the public space. Otherwise, people will start taking these live stream shows for granted, and none of us want that. There are years of blood, sweat and tears and ton of money and equipment behind every one of those."
So what does the path forward look like? There is a general consensus that many artists will be using this time to write and build up a reserve of materials for the future. Philanthropy is also on the cards, with megastar acts such as Lady Gaga partnering with the WHO to raise funds for much-needed resources for frontline healthcare workers. Smaller groups looking to bring affirming music concerts to essential workers have also started to crop up online, but, as Doleac points out, the few net positives of the situation are not strictly COVID related.
"I was at home for one weekend the entirety of last year," he explains, "This situation allows artists, or even just like a traveling parent who's always working time, to spend time with loved ones and work on relationships. I've gotten to talk to my family, and see my girlfriend a lot more than I anticipated. It's been a good reset button in that world." Amanda Palmer's social media feed reflects this too, which currently heavily features time spent with her husband, Neil, and son, Ash. "It's a really surreal paradox of existence," she admits, reflecting on the transition from touring life to isolation.
Amanda Palmer and Son Ash in IsolationFrom Amanda Palmer's Instagram
Artist solidarity is also widespread at this point in time. "Most of [my friends] work in the music business, and I know a lot of [them] are struggling at the moment. I'm doing whatever I can to be there through all of this," Caroline Romano says compassionately. Olivia Castriota adds: "I hope this will bring us all closer as a collective. It is really beautiful to see people and companies come together supporting artists."
In typically optimistic fashion, Adam Doleac shares his prediction for the industry's long-term COVID outcome. "I bet we'll all be more busy than we would have been when this starts getting back up," he says, upbeat, "People will be excited to get out to concerts, see shows they've been wanting to see for three or four months. I think in the end it will be a victory for everybody."
When all else fails, come back to what you know, as Luka Kerecin imparts. "Music has been giving me hope," he says, "When the music stops giving you hope in difficult times, that's when you know the world has really gone to hell. I hope I never find myself in such a place."
Support and Follow these artists online!
Olivia Castriota is an independent soul and R&B artist. Her most recent release "Can't Wait to See You" will appear on her EP "I Need a Minute" coming out later this year. Since interviewing for this article she has begun releasing video content via her social media.
Adam Doleac is a country music artist signed with Sony/ATV. His upcoming EP "Famous" will feature several well-known tracks, including his hit single "Famous", as well as new previously unheard material such as "I Choose Lonely." It is set for release April 17th.
Luka Kerecin is lead singer and founding member of prog-metal band Wings Denied. Their new album is due out later in the year. He is also a lecturer and marketing specialist at the United POP Academy.
Amanda Palmer is the former lead singer of the Dresden Dolls, long-time touring punk musician and activist, and author of the bestseller "The Art of Asking". She recently closed her "There Will Be No Intermission" tour, a four-hour-long piece discussing music, abortion, and radical compassion.
Caroline Romano is solo pop-singer. She has been played on Radio Disney, collaborated with Jacob Whitesides, and shared the stage with the likes of Kelsea Ballerini and Shawn Mendes. Her latest project is due for release in the Summer, and her most recent release "Stream of Consciousness" is available from all music outlets.
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Let's take a look at Nazi-inspired fashion.
Villains always have the best outfits.
From Darth Vader's polished black space armor to The Joker's snazzy purple suit, bad guys always seem to show up their protagonists in the fashion department.
Way more handsome than Batman. static.giantbomb.com
But could there possibly be a real world equivalent to the type of over-the-top villain fashion often found in fiction? It would have to be sleek and imposing, austere and dangerous. Probably black.
Maybe it's him. Maybe it's fascist ideology.
Let's call a spade a spade. From an aesthetic standpoint, the Nazi SS outfit is very well-designed. The long coat tied around the waist with a buckle portrays a slim, sturdy visage. The leather boots and matching cap look harsh and powerful. The emblem placements on the lapel naturally suggest rank and authority. And the red armband lends a splash of color to what would otherwise be a dark monotone. If the Nazi uniform wasn't so closely tied with the atrocities they committed during WWII, it wouldn't seem out of place at Fashion Week. Perhaps not too surprising, considering many of the uniforms were made by Hugo Boss.
Pictured: A real thing Hugo Boss did. i.imgur.com
Of course, today, Nazi uniform aesthetics are inseparable from the human suffering doled out by their wearers. In most circles of civilized society, that's more than enough reason to avoid the garb in any and all fashion choices. But for some, that taboo isn't a hindrance at all–if anything, it's an added benefit.
As a result, we have Nazi chic, a fashion trend centered around the SS uniform and related Nazi imagery.
History of Nazi Chic
For the most part, Nazi chic is not characterized by Nazi sympathy. Rather, Nazi chic tends to be associated with counterculture movements that view the use of its taboo imagery as a form of shock value, and ironically, anti-authoritarianism.
The movement came to prominence in the British punk scene during the mid-1970s, with bands like the Sex Pistols and Siouxsie and the Banshees displaying swastikas on their attire alongside other provocative imagery.
Very rotten, Johnny. i.redd.it
Around this time, a film genre known as Nazisploitation also came to prominence amongst underground movie buffs. A subgenre of exploitation and sexploitation films, Naziploitation movies skewed towards D-grade fare, characterized by graphic sex scenes, violence, and gore. Plots typically surrounded female prisoners in concentration camps, subject to the sexual whims of evil SS officers, who eventually escaped and got their revenge. However, the most famous Nazisploitation film, Ilsa, She Wolf of the SS, flipped the genders.
The dorm room poster that will ensure you never get laid. images-na.ssl-images-amazon.com
Ilsa was a female SS officer and the victims were men. She spent much of the movie wearing her Nazi uniform in various states, sexually abusing men all the while. As such, Ilsa played into dominatrix fantasies. The movie was a hit on the grindhouse circuit, inspiring multiple sequels and knock-offs and solidifying Nazi aesthetics as a part of the BDSM scene.
Since then, Nazi chic fashion has been employed by various artists, from Madonna to Marilyn Manson to Lady Gaga, and has shown up in all sorts of places from leather clubs to character designs in video games and anime.
Lady Gaga looking SS-uper. nyppagesix.files.wordpress.com
Nazi Chic in Asia
Nazi chic has taken on a life of its own in Asia. And unlike Western Nazi chic, which recognizes Nazism as taboo, Asian Nazi chic seems entirely detached from any underlying ideology.
A large part of this likely has to do with the way that Holocaust education differs across cultures. In the West, we learn about the Holocaust in the context of the Nazis committing horrific crimes against humanity that affected many of our own families. The Holocaust is presented as personal and closer to our current era than we might like to think. It is something we should "never forget." Whereas in Asia, where effects of the Holocaust weren't as prominent, it's simply another aspect of WWII which, in and of itself, was just another large war. In other words, Nazi regalia in Asia might be viewed as simply another historical military outfit, albeit a particularly stylish one.
In Japan, which was much more involved with WWII than any other Asian country, Nazi chic is usually (but not always) reserved for villainous representations.
OF COURSE. i.imgur.com
That being said, J-Pop groups like Keyakizaka46 have publicly worn Nazi chic too, and the phenomena isn't limited to Japan.
In South Korea, Indonesia, and Thailand, Nazi imagery has shown up in various elements of youth culture, completely void of any moral context. For instance, in Indonesia, a Hitler-themed fried chicken restaurant opened in 2013. And in Korea, K-Pop groups like BTS and Pritz have been called out for propagating Nazi chic fashion. Usually such incidents are followed by public apologies, but the lack of historical understanding makes everything ring hollow.
So the question then: is Nazi chic a bad thing?
The answer is not so black and white.
On one hand, seeing Nazi chic on the fashion scene may dredge up painful memories for Holocaust survivors and those whose family histories were tainted. In this light, wearing Nazi-inspired garb, regardless of intent, seems disrespectful and antagonistic. Worse than that, it doesn't even seem like a slight against authority so much as a dig at actual victims of genocide.
But on the other hand, considering the fact that even the youngest people who were alive during WWII are edging 80, "forgetting the Holocaust" is a distinct possibility for younger generations. In that regard, perhaps anything that draws attention to what happened, even if it's simply through the lens of "this outfit should be seen as offensive," might not be entirely bad. This, compounded by the fact that Nazi chic is not commonly associated with actual Nazi or nationalistic sentiments, might be enough to sway some people–not necessarily to wear, like, or even appreciate its aesthetics, but rather to understand its place within counterculture.
Ultimately, one's views on Nazi chic likely come down to their own personal taste and sensibilities. For some, Nazi chic is just a style, an aesthetic preference for something that happens to be mired in historical horror. For others, the shadow of atrocity simply hangs too strong.
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The viral artist has made a name for herself with strange animal stunts, but does this latest one fit her MO?
In what world do pigeons wear cowboy hats?
Is it a world more beautiful than ours? A world where despised and filthy pests that inhabit our cities are recognized as–instead of scruffy outlaws—handsome little loners who puff out their chests and play by their own rules? All it took for the world to fall in love with a rat was to see it struggling to drag a slice of pizza down some stairs. So if a pigeon is a rat with wings, what then does a Pizza Rat with wings look like? A Cowboy Pigeon?
http://t.co/CgeXvpC6kt— Nathan W. Pyle (@Nathan W. Pyle)1442865835.0
If Zardulu is behind the latest viral animal story out of Las Vegas, these are the kinds of questions over-serious art critics may soon be asking. As for Zardulu herself, she is a mysterious figure. She projects a sort of voodoo witch persona, but a more accurate description would place her somewhere between Banksy and one of those guys with a pet snake who charges tourists for pictures.
Pigeons Wearing Tiny Cowboy Hats Spotted in Las Vegas www.youtube.com
For a start, no one knows her face or her real name. When she allows herself to be photographed, she is always in an elaborate, wizardly costume, with her face covered by an unsettling mask or a macabre headdress. It remains unclear whether she's actually responsible for all the events she's claimed as her work, and what other work she's done that has gone unnoticed. We don't even know if she is truly a single person, or some kind of artist collective. And is "artist" even the right term?
It's not enough to wish the world were more magical, sometimes you have to be the magician— Zardulu (@Zardulu)1487790710.0
Some have called her a performance artist, but what is her performance? In one sense you could point to training a rat to drag a slice of pizza down a staircase as a sort of performance, but that is only one aspect of her art. As an act on its own, that would hardly rank as a reject on America's Got Talent. Is she, as her Twitter bio claims, a "Sorcerer. Soothsayer. Painter. Sculptor. Writer. Disinformation Artist." Or is the better title for Zardulu the one she's chosen as her epithet: the Mythmaker. Because her real art was in making that rat go viral—making us pawns in spreading her work, and making us believe in 2015's Pizza Rat.
It had to be presented as a natural phenomenon observed and captured by happenstance. She couldn't take credit for it until after culture had already reacted. As a result, most people who've heard of Pizza Rat have no idea there was a person responsible at all—likewise for her lesser-known viral works, Selfie Rat and Raccoon Riding an Alligator. Perhaps that's why the newest strange animal story to go viral maintains a necessary air of mystery while erasing any doubt that there's a person responsible. Is Zardulu the one putting tiny cowboy hats on pigeons in Las Vegas?
Selfie rat snaps a photo www.youtube.com
If so, it's certainly an effectively viral moment. The pigeons look legitimately adorable in those hats, in a way that Pizza Rat could never hope to. On the other hand, if Zardulu is responsible, this might join the ranks of her unclaimed works, because there are both legal and ethical concerns. Does this qualify as animal cruelty? It's not clear how many pigeons have been cowboyed or what means were used to secure the hats to their heads. If glue was used, it could damage their skin or feathers, and regardless of how they're attached, as long as the pigeons are wearing tiny cowboy hats, their flight is likely impeded, and they may draw extra attention from predators.
The authorship of myths must go unclaimed, as such a claim tethers them to reality, where they would otherwise be f… https://t.co/DS78bmZP5n— Zardulu (@Zardulu)1575994374.0
Animal rescue workers from a pro-pigeon organization called Lofty Hopes are struggling to catch these pigeons in order to relieve the pigeons of their headwear. But if this is the work of Zardulu—and she decides to claim it—I suspect we'll find out that these are domesticated pigeons and that the hats will be safely and easily removed.
Zardulu, we await your next proclamation.
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