A rough cover of Leonard Cohen's Bird on the Wire

new cover of Bird on the Wire

Idioteque

Cover of Anthony (now Anohni) and the Johnsons' Bird Gerhl.

Cover Of Antony And The Johnsons - Bird Gerhl

Shamelessingalong Cover Of Teardrop - Massive Attack

I wrote the section under the line in 2016, before I realised I was nonbinary. 

What this gets to in a roundabout way, was that I had always been beguiled by singing in a male romantic voice and role. 

What is the Danger Zone? This messy little picture I drew?
It's referenced at the end of the song - it is where the young woman ends up if she doesn't toe a line and stay chaste. If she's 'fast', she'll end up alone. 
The Danger Zone is also a zone I was unconsciously approaching by crossing into a male role, before I acknowledged I was queer, and certainly years before I acknowledged the masculine side of my identity. 
 


‐-----------------2016:
"The project (The Danger Zone: Internalise/Exorcise) involves covering selected sexist songs. It has 3 aims: 

1) To express this aesthetic of the authoritative romantic male voice singing about a woman in all these belittling and interesting ways.* 
2) To draw attention to it, satirise it by delivering the exact same lyrics in a woman's voice and through my own resistance to the songs' messages.
3) Speak to women with love, affirmingly, beyond the songs' original intended messages.

These are good songs. Catchy. Songs I also want to sing just as songs. Most of them are formative and/or familiar.

The word 'exorcised' is not quite right because this complex of feelings can be expressed, and constantly balanced, and perspective can be gained - but the internal fights that were embedded can never be just removed. The songs do create an external version that I can look at. 

* re aim (1): As a kid a female friend and I even wrote, sang and recorded a song where we fully occupied the lovelorn male persona. That we did this demonstrates how this desirous/denouncing male voice in music has / has been given huge aesthetic, emotive, creative potency. It's driving, fascinating, fascinated. And I'm taking it for me. I think I've always wanted to. Back then, being those intense little boy-girls at 10 enabled us to do that.

[90% ironic] Cover of 'Stop The Love You Save' (sexist covers)

I wrote the section under the line in 2016, before I realised I was nonbinary. 

What this gets to in a roundabout way, was that I had always been beguiled by singing in a male romantic voice and role. 

What is the Danger Zone? This messy little picture I drew?
It's referenced at the end of the song The Love You Save - it is where the young woman ends up if she doesn't toe a line and stay chaste. If she's 'fast', she'll end up alone. 
The Danger Zone is also a zone I was unconsciously approaching by crossing into a male role, before I acknowledged I was queer, and certainly years before I acknowledged the masculine side of my identity. 
 


‐-----------------2016:

The project (The Danger Zone: Internalise/Exorcise) involves covering selected sexist songs. It has 3 aims:

1) To express this aesthetic of the authoritative romantic male voice singing about a woman in all these belittling and interesting ways.*
2) To draw attention to it, satirise it by delivering the exact same lyrics in a woman's voice and through my own resistance to the songs' messages.
3) Speak to women with love, affirmingly, beyond the songs' original intended messages.

These are good songs. Catchy. Songs I also want to sing just as songs. Most of them are formative and/or familiar.

The word 'exorcised' is not quite right because this complex of feelings can be expressed, and constantly balanced, and perspective can be gained - but the internal fights that were embedded can never be just removed. The songs do create an external version that I can look at.

* re aim (1): As a kid a female friend and I even wrote, sang and recorded a song where we fully occupied the lovelorn male persona. That we did this demonstrates how this desirous/denouncing male voice in music has / has been given huge aesthetic, emotive, creative potency. It's driving, fascinating, fascinated. And I'm taking it for me. I think I've always wanted to. Back then, being those intense little boy-girls at 10 enabled us to do that.

Eva's Cover of Omi: Cheerleader (sexist covers)


I wrote the section under the line in 2016, before I realised I was nonbinary. 

What this gets to in a roundabout way, was that I had always been beguiled by singing in a male romantic voice and role. 

What is the Danger Zone? This messy little picture I drew?
It's referenced at the end of the song The Live You Save - it is where the young woman ends up if she doesn't toe a line and stay chaste.
The Danger Zone is also a zone I was unconsciously approaching by crossing into a male role, before I acknowledged I was queer, and certainly years before I acknowledged the masculine side of my identity. 
 


‐-----------------2016:

The project (The Danger Zone: Internalise/Exorcise) involves covering selected sexist songs. It has 3 aims:

1) To express this aesthetic of the authoritative romantic male voice singing about a woman in all these belittling and interesting ways.*
2) To draw attention to it, satirise it by delivering the exact same lyrics in a woman's voice and through my own resistance to the songs' messages.
3) Speak to women with love, affirmingly, beyond the songs' original intended messages.

These are good songs. Catchy. Songs I also want to sing just as songs. Most of them are formative and/or familiar.

The word 'exorcised' is not quite right because this complex of feelings can be expressed, and constantly balanced, and perspective can be gained - but the internal fights that were embedded can never be just removed. The songs do create an external version that I can look at.

* re aim (1): As a kid a female friend and I even wrote, sang and recorded a song where we fully occupied the lovelorn male persona. That we did this demonstrates how this desirous/denouncing male voice in music has / has been given huge aesthetic, emotive, creative potency. It's driving, fascinating, fascinated. And I'm taking it for me. I think I've always wanted to. Back then, being those intense little boy-girls at 10 enabled us to do that.

Felix Jackson

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