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Like, life's so fun, life's so fun
Got my mini skirt and my rollerblades on
Bag on my side 'cause I'm up 'til dawn
Keeping it light like silk chiffon
So goes the pre-chorus of “Silk Chiffon” by MUNA and Phoebe Bridgers. Earlier this year MUNA signed with Saddest Factory Records, Phoebe Bridgers’ imprint of Dead Oceans, after a two album stint with RCA Records. Their incredible sophomore album Saves the World (2019) made waves in the alternative rock scene and they gained a cult following. Working with Phoebe Bridgers was a genius move, and the song they made together is perfect.
It’s wild to hear Phoebe Bridgers, of “Moon Song” glory, singing about a blissful rollerskating sapphic fantasy. Everything about the song is turned up to eleven, from the unimaginably high note that kicks off the chorus to the strong reference to “Teenage Dirtbag.” To take it a step further, the music video is based on But I’m a Cheerleader (1999), one of the most iconic gay love stories in popular culture to date. I’m including the link to the video below because it’s essential viewing.
I’m excited to see what else MUNA puts out this year, and although they were my favorite secret band, I’m filled with joy that they’re doing an arena tour with Kacey Musgraves (and King Princess). They’re doing vital work for their young queer fans, providing both bopping music and strong representation in the industry.
Taylor Swift also recently broke up with her label. Big Machine owned the masters of her first six records and sold them to Scooter Braun, who was involved in the Kanye West-Taylor Swift drama surrounding “Famous.” I won’t get into that today, but just know that the acquisition was offensive to Taylor as an artist and as a public figure whose reputation has been tarnished again and again by factors outside her control.
In protest, Taylor is re-recording and re-releasing her first records in an effort to regain control over her discography. The project has been received positively by her fans, who are almost as indignant over the Scooter debacle as she is. The new versions are only slight variations on the originals, maintaining the nostalgia of the early writing while reframing the vocals to sound more mature. It’s a delight to get exactly what we wanted from Taylor Swift, but a little bit more.
I recently worked a Counting Crows show. The band has a special place in my heart for the “Big Yellow Taxi” cover that my mom used to play in the car and “Einstein on the Beach (For an Eggman).” I’d say I’m a fan, but I have a friend who was at the show who loves Counting Crows more than anything, knows every word to every song. Seeing him in the crowd with such pure delight in his eyes, seeing the recognition pass over his face as the first few bars played, was illuminating. I thought to myself, “That’s what I must look like.” All these concerts I’m seeing have brought me such immense joy that I cannot imagine how I was living before them. I feel so grateful that I’ve discovered this thing that breaks me open inside and floods me with contentment and warmth while also invigorating and inspiring me. As Prince would say, nothing compares.