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Stayfree or Stay Away?

The Summer Trends to Say Goodbye To After Labor Day
This weekend marks the
unofficial end to lazy days. And while we're sad to see our
summer Fridays disappear, there are a few beauty trends we're
more than happy to send packing:
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This is a question I've
been asked about 20 times in the past two weeks (I guess girls need
to know if they should squeeze the last bit of life out of that LWD
during August), and I've got a short answer and a long answer.
The short one: NO! [Insert applause here]. The long one: Keep
reading.
20 Guilt-Free Pieces for Fall
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you're all about customizing your looks,
you've got to take this quiz.)
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only one I've ever gotten). And since I'm all
about sharing, here are the personality readings she gave for the
other lip shapes, yours included.
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Deborah Kee Higgins invites us to All Tomorrow’s Parties
This weekend, All Tomorrow’s Parties celebrates is 10th anniversary by taking over Kutshers Country Club in Monticello, New York. Unlike other festivals, every ATP event (they’re held around the world) invites a curator to choose the bands and films that will play at the festival—previous curators have included My Bloody Valentine, Sonic Youth, Nick Cave, Yeah Yeah Yeahs, Vincent Gallo, and even Simpsons creator Matt Groening. This year’s curator, Jim Jarmusch, the independent film director, sets the scene. Deborah Kee Higgins, who organizes All Tomorrow’s Parties alongside her husband and ATP founder Barry Hogan, tells us about the festival and how she came to be a savvy and successful promoter.
Venus Zine: What are All Tomorrow’s Parties and how did they begin?
Deborah Kee Higgins: ATP was started by Barry Hogan—he was courting Belle & Sebastian at the time, and they were doing an event at a holiday camp in England. It turned it into a three-day affair. The following year, he wanted to carry it on so he changed the name. Originally it was called the Bowlie Weekender.
VZ: Do artists really stay in the same accommodation as the fans?
DKH: When Nick Cave first came to ATP and found out he was staying at the same accommodations [as the fans], he was like, “no this is impossible” and made us scramble around and try to find a hotel in the local area. But after one day of being at the festival, he changed his mind and said, “I’m staying here.” It contributes to the whole atmosphere to have everyone together.
VZ: Is anything ‘extra special’ on board for the New York version of the festival?
DKH: There’s something that I’m particularly excited about. I’m a big reader, and this is the first time we’ve started an ATP book club. We got Jim Jarmusch to recommend a list of books, and we’ve chosen two of them. So, we're going to do a book club and a discussion, and I’ve actually managed to get the authors of those two books to come in and participate in the discussion panel. One is The Invention of Everything Else, which a novelization of Nikola Tesla’s life. It’s written by Samantha Hunt. The other is Luc Sante’s book Lowlife.
VZ: What is your background?
DKH: I’m from Australia, but [Barry and I] live in London. I used to work for a music magazine called Rock Sound, and I used to produce music video clips and work on the production side, so I was always involved in music. I had actually promoted a few gigs myself but not as heavy as when I started with ATP.
VZ: How did you end up working with music videos and Rock Sound?
DKH: I had a marketing background in Australia, but not in music. When I got to England I started temping. I was temping for a company for six weeks and they offered me a full time job, and I stayed with them for three years—that was at a television station. It was a bonus I knew how to use computers and knew how to type and I was able to get into a good temping position, which then got me into a job at a television station in the U.K. From there I moved over to the magazine and through the magazine met contacts to make music videos. It is definitely advantageous to meet people along the way in various jobs.
VZ: Any advice you can give to other women interested in your type of work?
DKH: I think there’s opportunity now more than ever for anyone who is good at what they do, to show the world they are good at something. There are so many forums, whether it’s starting your own website or going to work for one, or going to volunteer for another website. I feel like the world and the marketplace has opened up a lot for women and for men. But for women, it means you can get out there more and you can really kind of shine and develop yourself. Even from a young age you can develop what you want to do and hone your skills. There are so many forums and media to sort of get out there.
I'm with the Band
Amazing concert posters seem to be everywhere these days, but rock tees often leave something to be desired. Tired album art, boring logos, and even worse, these eyesores often come printed on the kind of stiff, ill-fitting cotton T-shirt that can kill even the most inspired ensemble.
Cue Soundscreen Design. This Brooklyn-based company tapped five cutting-edge indie fashion designers and graphic design studios to create distinctive merchandise for 10 influential indie bands, including Animal Collective, Yeah Yeah Yeahs, and TV on the Radio. The goal was to produce a line for fans that would reflect their good taste in both music and fashion.
The result was Soundscreen Design's 2010 Apparel Collection, which features band-inspired artwork on canvas totes and soft, high quality American Apparel cotton tanks and tees. The designs are modern and refreshingly abstract, and all items are priced between $20 and $24 and offer a foolproof way to show a little music appreciation without looking like a 13-year-old fanboy.
The first installment of the collection (Yeah Yeah Yeahs, Pantha du Prince, Animal Collective and Atlas Sound) is available for purchase now on Soundscreen's website. Designs for TV on the Radio, Band of Horses, Chairlift, Beach House, and HEALTH will be released later this year. Here's a peek at some of the goods:
Rob Carmichael for Animal Collective:


Hisham Bharoocha for Yeah Yeah Yeahs:



Green Day puts on explosive show in Orange County, California
Sellout.
It's the most poisonous word to use against a punk rocker. It insinuates being compromised for fame, girls, clothing deals, whatever. It means relinquishing one's radical beliefs just for a taste of the mainstream. It means you're dead to your peers and supporters.
Sell out is exactly what Green Day did this week. That is, they sold out the entire Verizon Wireless Amphitheater in Irvine on a Tuesday night. Sixteen thousand people ventured to that isolated ravine (among those sighted, actor Bob Saget—who knew Danny Tanner was a rioter?) to watch a trio that started out over 20 years ago in Berkeley and became, arguably, the most important band of the last decade.
Somehow, Billie Joe Armstrong, Mike Dirnt, and Tré Cool have ascended from the sellout pyre and masterfully defied logic: As they became bigger, they got more political. Their 2004 opus, American Idiot (Reprise), was one of the only successful and genuine protest albums during the Bush era. And now, it's inspired a sellout Broadway musical. The multi-platinum Dookie may have put them on the map since its release in 1994, but with age, they've become real artists and entertainers.
Who else among Green Day's ilk could put on a three-hour (yes, you read that right) concert encompassing nearly two dozen years of classics and still have the energy of teenagers on Red Bull? With a touring lineup that features keyboardists, extra guitarists, and accordionists, the hits sound fresh, and the anthems (such as the lighters-out bombast of "Wake Me Up When September Ends") can shake the heavens.
Most importantly, the Bay Area punks have fun onstage. Like tatted-up gazelles, Armstrong and Dirnt jumped atop their monitors and smiled widely during their set. For the bonkers "King for a Day," the whole crew wore costumes ranging from fat Elvis to Cool dressed as a tranny Southern belle, scurrying about like a Benny Hill sketch.
This wasn't a performance; this was a party. Any fan who could make it onstage was encouraged by the band to join them in the zaniness. Among the ranks was a shy boy dressed like the singer's mini-me, a tall blonde who cradled Armstrong like a baby, and a teen girl invited up to sing "Longview," who promptly fainted after leaving the stage. (She was revived and rocked out in the pit for the remainder of the gig.) T-shirts and toilet paper were shot into the vast audience. The closest concertgoers got hosed down with water. And all the pyrotechnics just added to the effervescence of the evening.
Like the terrific flashback medley Armstrong and the gang played (Guns N' Roses, Van Halen, Led Zeppelin, the Beatles), Green Day is a live act that this generation will brag to their children about seeing. If you're going to "sell out," you might as well do it spectacularly.
—
Green Day official site
Green Day MySpace page
Venus Zine Crowns the Queen of Rock ‘n’ Roll!
Patti Smith has been called the Godmother of Punk. Joan Jett is often termed the Original Riot Grrrl. But in the history of rock music, no single woman has come forward to claim the title of Queen of Rock ‘n’ Roll.
So, when writer Allison Ford came to us with the idea to find the lady who could hold court with Elvis, we became a bit obsessed. At the end of our many discussions, we felt there was no “middle of the road” in giving the crown to …

Long before it was widely accepted for women to front rock ‘n’ roll bands, Chrissie Hynde had no problem stepping up to the mic and into the spotlight. Best known for leading the Pretenders since its inception in the late ‘70s, Hynde has been a one-woman wrecking ball and also a magnetic force field of rock music for the past 35-plus years.
As the one constant member of the Pretenders in the drug-riddled and conflict-saddled history of the band, Hynde was never one to hang up her jacket—and in the process crafted nine acclaimed studio albums and 33 singles, including such FM radio gems as “Stop Your Sobbing,” “Brass in Pocket,” “Don’t Get Me Wrong,” “Back on the Chain Gang,” and likely one of the most impressive ballads of our time, “I’ll Stand By You.”
She has been a virtual tour guide through the growing pains of rock music over the years—standing firm in her punk roots while adapting to the new wave trend of the ‘80s, the alternative nation of the ‘90s, and even today’s indie rock grip, starting her own label (La Mina Records) and forming her first-ever project outside of the Pretenders just this year (read more about JP, Chrissie, & the Fairground Boys on page 31). At nearly 60, an age when many rock stars have seen their brightest moments, Hynde is just now forging a new path with the same pristine contralto pipes, vision, and fashion sense that made her an effortless icon decades ago, even as other frontwomen used clichéd forms of image to gain attention.
As a kid from Akron, Ohio who was bored with Middle America and relished the cultural breeding ground of ‘70s London, Hynde moved to where the action was in 1973 and found a job writing for music magazine NME. Little did she know she would soon be featured in its pages as well.
She’s weathered relationships with her own rock muses like Ray Davies (the Kinks) and Jim Kerr (Simple Minds), which produced two daughters and inspiration for new material. A vocal PETA activist, Hynde has always been the voice for the underserved, whether it’s animals or the many generations of young women looking for a cultural icon they could relate to. Chrissie Hynde will always be the “talk of the town,” and for that, we proudly crown her the Queen of Rock ‘n’ Roll. — Selena Fragassi (Venus Zine Music Editor)
As we discovered, there’s a reason why one woman has never been officially honored as the Queen of Rock. Although Elvis has always held a league of his own as the king, the many brilliant women in the history of rock music make it hard to choose just one. Here, we include the legacy of the frontrunners who forever shaped music as we know it—from the classic icons to the young’uns leading the next wave of heirs to the throne.

Nobody could touch Janis Joplin for emotion. Every note came from deep down, whether sweet, strained, or full of pain. Even “Me and Bobby McGee,” the closest she ever came to a pop song, roars and cries. To hear her voice and know it came from a skinny, awkward, 20-something white girl is unfathomable.
Steeped in the music of Big Mama Thornton and Odetta, Joplin’s classic tracks are backed by an intimate understanding of the blues. One of the last songs she recorded, “Mercedes Benz,” has only a simple backbeat and shows just how mesmerizing a vocal performance can be. When her mouth is open, it’s hard to hear anything else. That’s why her work with Big Brother and the Holding Company produced her best songs. With the restraint of experienced musicians, they provided a steady rhythm to her wild vocals. “Piece of My Heart,” a perfect song both in gritty recordings and live, offers a basic blues-based groove, Joplin’s best performance, and a lesson on woman-scorned rock ‘n’ roll.
No one knows what she would have sounded like at 30, or what she would have produced. What we do know is that without her, there would be no Stevie Nicks, no Kathleen Hanna. She gave ladies the license to be both fierce and fragile, and to use those emotions to create rock ‘n’ roll on a woman’s terms. — Sarah Collins




Amid the bevy of fragmented relationships and shifting alliances that define the history of Jefferson Airplane, Jefferson Starship, and Starship, the closest thing these musical groups ever had as a constant was the talent of Grace Slick. When she joined Jefferson Airplane in 1966, Slick was supposed to be only a replacement. The San Francisco ensemble had been together for a year and had already released a debut record that demonstrated its potential. Slick, however, was a huge influence that took the group away from the folk-rock love songs that were far more synonymous with the Byrds to the psychedelic masterpiece of the band’s next album, Surrealistic Pillow (RCA Victor).
Highlighted by the bordello groove of “White Rabbit” and the fiery “Somebody to Love,” the album was a work of hallucinogenic inspiration. Acidic in its mix of folk, blues, and garage rock, Surrealistic Pillow became a milestone that embraced hippie culture’s mentality of free love, war protest, and drug experimentation, thus crowning Slick the unofficial First Lady of 1967’s Summer of Love.
Alongside her friend and professional peer Janis Joplin, Slick was the first to legitimize a female lead vocalist. She had managed to tap into a specific place and time and gave it an audible signature. — Mike Hilleary

Aretha Franklin, the Queen of Soul. She’s a songwriter, she’s a self-taught pianist, and she’s been proclaimed the best singer of all time by Rolling Stone. From soul to jazz, pop to R&B, blues to gospel, hell, even rock, she masters them all. The year 1967 may as well have been named the Year of Aretha, as she scored hit after hit—“Chain of Fools,” “Baby I Love You,” “I Never Loved a Man (The Way I Love You),” and “(You Make Me Feel Like) A Natural Woman.”
Franklin reached new heights, however, in April ’67 when she released her own version of Otis Redding’s “Respect.” Originally a soulful track about a man insisting on a woman’s admiration, Franklin morphed it into a high–energy tune with an empowering message for civil rights, sexual liberation, and the feminist movement. Forty-three years later, it’s still her signature track, considered one of the greatest songs of the 20th century by music aficionados, the National Endowment for the Arts, and average folks alike.
As the first woman to be inducted into the Rock and Roll Hall of Fame and a recipient of countless awards, from Grammys to honorary doctorates, Franklin was and still is a force to be reckoned with. What’s more rock ‘n’ roll than that? — Kelley Hecker


Ferocious. Uncompromising. Outspoken. Genre- and gender-bending. Patti Smith is the king, queen, duke, duchess, knight, and court troubadour of rock music. Born of the wellspring of New York punk and mayor of such landmarks as CBGB’s and Max’s Kansas City, Smith has clenched her place as one of the most provocative artists around. With her smoky growl and mastery of words, she could take a well-worn song and make it her own. The things she did with Them’s “Gloria” or Nirvana’s “Smells Like Teen Spirit” were like electrical jolts to the boys’ club of gritty musicianship.
Smith has been a vocal champion for peace and human rights, with her “People Have the Power.” In doing so, she has inspired generations of firebrands—from R.E.M.’s Michael Stipe to Shirley Manson of Garbage and even Karen O—to tear down walls and celebrate individualism, to blur the lines of art and pure energy.
Smith was a soothsayer (how appropriate is the 32-year-old “Till Victory” these days? It’s uncanny.) and remains a shaman of prose and lyric. She is a pulsar of truth. She’s even tread on “enemy” territory—as a contributor to Rolling Stone and Creem magazines. Patti Smith is intrepidness incarnate. — Melissa Bobbitt



Polly Jean Harvey was raised on a sheep farm in Dorset, England where her parents introduced their young daughter to the music of Howlin’ Wolf, Jimi Hendrix, and Captain Beefheart. It was in the English countryside where Harvey assembled the trio that would record 1992’s Dry (Indigo), a debut met with widespread critical acclaim and launched the career of one of rock’s most innovative artists.
In nearly 20 years since her foray, Harvey has released seven studio albums, two compilations, and two collaborations with John Parish. Determined not to repeat herself musically, Harvey’s discography may not be as voluminous as some of her contemporaries, but each entry reveals more layers of her creativity and artistic growth.
Throughout her career, Harvey has been a critical favorite, if not always a commercial success. Her 2000 release, Stories from the City, Stories from the Sea (Island) garnered her the 2001 Mercury Music Prize (awarded to the best album from the U.K. or Ireland) and sold more than million copies. She’s been nominated for five Grammy Awards and has had two of her albums (Rid of Me and To Bring You My Love) included in Rolling Stone’s list of the Top 500 Albums of All Time.
Critical adoration is meaningless in rock, though, if an artist can’t deliver live. The always–eccentric Harvey more than delivers: She’s in total control on stage with a voice and a presence that demands full attention. Mark our words, Harvey is among those leading the next wave of Queens of Rock ‘n’ Roll. — Bonnie Thurston


Eleanor Friedberger is the coolest kid sister on the block. As the female half of the Fiery Furnaces, she’s helped create some of the most inventive, shape-shifting, indie rock–pop numbers of the last decade. But what else makes her queen-worthy?
Furnaces fans know that while brother Matthew writes most of the band’s music—a guitar riff here, a few electronic synth loops imitating the sounds of an imaginary “Tropical Ice-land” there—Eleanor is responsible for bringing the lyrics to life. She does so with a spitfire-like intensity on record and a quiet focus on stage, but there’s more to her artistic persona.
If Matthew is the technician, Eleanor is the lover; if he’s the Tin Man, she’s the heart he so desperately needs. In Ms. Friedberger’s world, life’s a land where dogs are suddenly lost, but then found praying in church. It’s a local social club where a girl named Brandy Butterscotch barters and begs, and a dude named Vincent Vibraphone drunk-dials nearby. Mostly, though, her world is about love. When Eleanor signs autographs after a concert, she’ll sultrily ask for each fan’s name and write it down. Then she emblazons her own signature with a big, cheesy heart. — Jeremy Adams



Dum Dum Girls mastermind Kristin Gundred (you may know her better as her alter ego, Dee Dee) writes catchy songs and harmonies reminiscent of ‘60s girl groups like the Ronettes, but there’s no modern-day Phil Spector pulling the strings here. Gundred first arrived in the music world as the drummer and singer for the San Diego-based band Grand Ole Party. In 2008, Gundred struck out on her own, using the Dum Dum Girls name (a shout-out to the Vaselines’ Dum-Dum (Rough Trade) and Iggy Pop’s song “Dum Dum Boys”) as a moniker to release her home recordings.
Before putting a band together, Gundred had already written and recorded the songs that would become the debut LP, I Will Be (Sub Pop). It features 30 minutes bursting with non-stop swirling guitars, garage-pop hooks, declarations of undying devotion, and (of course) those dreamy harmonies. With her winning combination of sunny beach pop, hazy reverb, and just the right amount of darkness (what Gundred terms “blissed-out buzzsaw”), the future looks bright for Dee Dee and her Dum Dum Girls, the newest in a long line of queens ready to take the throne. — Dana Raidt

Everyone comes into this world screaming, but few continue to holler long after they’ve learned how to walk. No woman can summon that primitive cry quite like Alison Mosshart. The Florida-born London transplant first unleashed her voice in high school when she fronted the punk band Discount. Today, she growls, bellows, moans, and whispers kiss-me-deadly lyrics as co-founder of the Kills and the Dead Weather.
Mosshart’s gritty voice spews great vengeance and furious fire. You covet that voice and its tremendous power. You want to steal those nicotine-ravaged pipes to dress down your foes or tell some impressionable bloke to treat you like his mother. Like Chrissie Hynde, Mosshart evokes effortless cool with an onstage persona that swings between subtle swagger and breathtaking ferocity, flipping on a dime as she thrashes about with that mop of black hair. She’s confident enough to team up with rock giants Jack White and Jamie Hince and not only hold her own, but even overshadow their efforts.
Footage of Mosshart playing an early Discount show recently surfaced online. The video depicts an artist on the verge of finding her voice and tapping into her power—she’s at about half-throttle compared to current Dead Weather gigs. With a new Kills album on the horizon, it’s possible she’ll ratchet up her performance level once again and inch one step closer to the rock ‘n’ roll throne. — Jamie Gadette
Be sure to check out who our Insiders and Readers think should be named the Queen of Rock ‘n’ Roll!
PART 2: Insiders' Picks
PART 3: Readers' Picks
Venus Zine Crowns the Queen of Rock ‘n’ Roll!
To make sure no rock goddess was missed, we asked the who’s who of the music industry, and our readers, for their all-time inspirations. Drumroll please…

We choose Stevie Nicks for Queen of Rock ‘n’ Roll. Nicks’ voice is beyond unique and her melodies are amazing. What really impresses us is the emotion that she puts into her songs and performances. Never coming across as sappy or clichéd, Nicks expresses anger, fear, joy, and sorrow in some of the most honest records we have ever heard. She has influenced many diverse female (and male) musicians, which shows the power and longevity of her music. Nicks has a mystical quality and she creates a fantasy for the listener, which is so important in rock ‘n’ roll. It gives the listener the ability to simultaneously experience their deepest, most secret emotions and desires, while also giving them the chance to escape their lives—even if just for the three minutes it takes to play a song.
The Donnas are an all-female rock band from Palo Alto, California
The Donnas have more to say in our exclusive video interview at VenusZine.com/donnasvideo

Exene Cervenka began her music career DIY-style in 1977 upon meeting John Doe, Billy Zoom, and DJ Bonebrake in L.A. and formed the seminal punk band X. Exene continues to show her DIY spirit today by creating cutting-edge music, visual art, and poetry. She stills tours solo, with X, and the Knitters. Exene has also performed and recorded with artist Lydia Lunch while her own drawings, paintings, and collages are exhibited across the country. Exene shares her passion on social and political issues, incorporating them comfortably into her music, poetry, and art. Each new album, tour, and exhibit has paved ground for other artists to follow.
Nan Warshaw is the co-founder of Bloodshot Records

Siouxsie Sioux holds the honor for so many reasons: Her fashion choices have turned heads from day one, and her iconic makeup has made those cat eyes more beautiful over time. Her songwriting can be called anything but stagnant, with a career that went from an impromptu screaming of the Lord’s Prayer at the 100 Club Punk Festival to the ornate sounds of the Banshees and the Creatures. What is most inspiring is her complete control both onstage and off. She remains one of the strongest and most uncompromising women on stage. At the end of her 2004 Royal Festival Hall show, she said, “Nothing lasts forever, especially the good things.” True, but not of Sioux’s legacy.
Mona Dehghan is the Communications Manager for Domino Records

At a time when rock was sinking under the weight of arena rock, Debbie Harry gave punk and new wave the surge it needed to influence the trajectory of rock. As a commanding force in the major turn of rock ‘n’ roll in the ‘70s, Harry’s seductive insurgency of the status quo and unapologetic femininity made her a staple among contemporaries. Before the melding of rock star and fashionista roles was commonplace, Harry extended her reach by becoming a noted trendsetter and resident sex symbol for the reinvigorated rock ‘n’ roll movement, making way for future waves of Madonnas to command hearts, minds, and record libraries.
Liz Riley Tollefson is the co-founder of threeimaginarygirls.com

In the beginning, rock ‘n’ roll was sex. When Alan Freed first picked up the phrase, rockin’ and rollin’ on a Saturday night didn’t involve watching a fat man in a lame suit and a kiss curl. Madonna is sex. She has breathed sex onto vinyl ever since she sang “Like a Virgin” so unconvincingly. How could she remember? She’s had sex books, sex records, sex films, and sex tours. She’s had as many number ones as the Beatles and is old enough and omnipresent enough to be a deity. Rock ‘n’ roll is more than owning a leather jacket.
Frank Hopkinson is the co-author of The Girl in the Song: The True Stories Behind 50 Rock Classics (Chicago Review Press, October 2010)
Be sure to check out who our Venus Zine Staff and Readers think should be named the Queen of Rock ‘n’ Roll!
PART 1: Staff Picks
PART 3: Readers' Picks
Venus Zine Crowns the Queen of Rock ‘n’ Roll!
Nearly 5,000 of you voted and put Jett at a faraway first with Stevie Nicks and Ann Wilson rounding out the top three.
Widely considered to be the “Godmother of Punk” and the “Original Riot Grrl,” Joan Jett first left her boot print on rock ‘n’ roll in 1975 as the teenage rhythm guitarist for the all-female band the Runaways. At a time when girl groups were synonymous with freak shows and women with guitars were seen as novelty acts, Jett garnered international acclaim as the co-writer of the Runaways’ hit song “Cherry Bomb” and toured the world before she was 20.
After the Runaways disbanded and 23 labels rejected her solo album, Jett released it herself and became one of the first female musicians to start her own independent record label, Blackheart Records, in 1980. She went on to release eight gold and platinum albums and nine Top 40 hits with her band the Blackhearts, including “Bad Reputation” and “Crimson and Clover.”
But all groundbreaking figures aside, what’s significant about Jett is the fact that she not only forged her own career, but also broke rock’s glass ceiling to pave the way for generations of females and power chords to come. — Katherine Hoffert
Here’s what you said:
"Joan Jett, hands down, is the queen and the essence of rock ‘n’ roll ...and she’s still rocking! Joan Jett for the win.” — Laura
"My vote goes to Joan Jett. She is the only woman of rock still going strong and has never given up when the going gets tough. Her songs are iconic and have stood the test of time. Simply put, she rocks.” — Zinola
"My vote for queen of rock is Joan Jett. There is no other chick who has represented females. She inspires kids today like she did when I was a kid, and still has fans of all ages. Two of my nieces started playing guitar because of her. Joan Jett gets all of our votes, including my mom’s.” — Angelique
Be sure to check out who the Venus Zine staff and our Insiders think should be named the Queen of Rock ‘n’ Roll!
PART 1: Staff Picks
PART 2: Insiders' Picks
Top 5 TV Shows Canceled Too Soon
When it comes to the small screen, critical acclaim and longevity don’t always go hand in hand. In fact, at times the opposite seems to hold more truth. (Yes, I’m talking to you, Two and Half Men.) And you only need to watch a few episodes from Seinfeld’s first season—before Kramer perfected his twitches and Elaine experimented with inflection—to realize greatness can take some patience and nurturing. Unfortunately, not all TV shows have time on their side. Here, five series that deserved a longer ride.
In part, this one-hour drama tops my list thanks to its perfect time capsule of early-'90s style and angst. (Think crochet vests, flannel shirts, and a soundtrack with R.E.M., Sonic Youth, and the Ramones). Nostalgia aside, the show’s 19-episode lifespan proves tragically short. Fifteen-year-old Claire Danes’ authentic portrayal of the conflicted Angela Chase provided a gripping anchor for a series that pushed beyond the “very special episodes” of the era to more fully address issues such as homophobia and school violence. And let’s not forget the smoldering Jared Leto as the rebel without a cause boyfriend. Sadly, MSCL suffered from a fragmented marketing campaign; to the confusion of viewers, executives targeted the series at both teens and adults with the idea a female teen fan base couldn’t exclusively support programming. Oh, how Dawson's Creek would prove them wrong a few years later.

Sure, it lasted three seasons—an eternity compared to others on this list—but this quirky, innovative comedy had the goods to go the distance. With its ridiculously talented cast (almost unbelievable that Will Arnett, Jason Bateman, Michael Cera, Portia DiRossi and Jeffrey Tambor shared scenes on a weekly basis) and elaborate plots the eccentric Bluth family could have churned out quality television for years to come. Alas, a small cult following and six Emmy’s couldn’t keep Fox from forcing this gem to a fate befitting its title. (Now we're waiting to see what happens with the movie.)

The saga of mathlete-turned-freak Lindsay Weir (Linda Cardellini) and her geek brother Sam (John Francis Daley) perfected the dramedy genre with equal parts humor and seriousness. Set in 1981, the sitcom boasted a sophisticated look and feel with then sorely underused on-location shots and no laugh track. Written, produced, and directed by comedy extraordinaire Judd Apatow, the program also featured fresh, funny performances from Seth Rogen, James Franco and Jason Segel. Though network execs nixed the series 12 episodes in, Apatow and crew’s slew of hit films—Knocked Up, Pineapple Express, and Forgetting Sarah Marshall, to name a few—have given these outcasts the last laugh.

This show had it all: forensics, true love, and pie. Created by Bryan Fuller, whose other short-lived series Dead Like Me deserves an honorable mention in the Canceled Too Soon Hall of Fame, the series followed Ned the pie-maker, played by Lee Pace, as he solved murder cases using his ability to temporarily bring folks back to life. In addition to its out-there plots, Pushing Daisies had a distinctive fairytale-esque look with bright colors and whimsical scenery. Arguably one of the most original series ever produced by a big-three network, its 22 episodes only leave you hungry for more.

With starring roles in comedy classics There’s Something About Mary and Zoolander it’s easy to forget that, back in the day, Ben Stiller had a little TV show. In a mere 13 episodes the show-within-a-show sketch comedy series supplied unforgettable scenes and characters, such as "Tito Gallegas: The Pig Latin Lover," "Grown Up Eddie Munster," and oodles of dead-on Tom Cruise, Bono, and Springsteen impersonations. The series also showcased some of the best comedians of the decade, including Andy Dick and Janeane Garofalo (plus, Apatow was behind this one, too). Despite its sizzling critique of pop culture, The BSS failed to connect with viewers. A shame, especially when compared with MTV's current reality-drenched lineup.
Bettie Serveert
09/23/10 Cambridge, MA @ T.T. the Bear's
09/24/10 Hoboken, NJ @ Maxwell's 09/25/10 Brooklyn, NY @ Southpaw 09/26/10 Milford, CT @ Daniel Street 09/28/10 Toronto, ON @ The Drake Hotel 09/29/10 Cleveland Heights, OH @ Grog Shop 09/30/10 Ferndale, MI @ Magic Bag 10/01/10 Chicago, IL @ The Abbey 10/02/10 Minneapolis, MN @ First Avenue & 7th Street Entry 10/04/10 Denver, CO @ Larimer Lounge 10/06/10 Spokane, WA @ Empyrean Coffee 10/07/10 Seattle, WA @ Tractor Tavern 10/08/10 Vancouver, BC @ Biltmore Cabaret 10/10/10 Portland, OR @ Dante's 10/12/10 San Francisco, CA @ Cafe Du Nord 10/13/10 Los Angeles, CA @ Spaceland 10/16/10 Tucson, AZ @ Plush 10/17/10 Albuquerque, NM @ Launchpad 10/19/10 Dallas, TX @ The Prophet Bar 10/20/10 Austin, TX @ Stubb's 10/22/10 St. Louis, MO @ Blueberry Hill 10/23/10 Nashville, TN @ Exit / In 10/24/10 Atlanta, GA @ Earl 10/25/10 Chapel Hill, NC @ Local 506 10/27/10 Pittsburgh, PA @ Brillobox 10/28/10 Philadelphia, PA @ North Star Bar 10/29/10 New York, NY @ Bowery Ballroom 10/30/10 Bordentown, NJ @ The Record Collector Store 10/31/10 Arlington, VA @ Iota Club & Café — Bettie Serveert's official site
Liz Phair
10/05/10 Solana Beach, CA @ Belly Up Tavern
10/08/10 Los Angeles, CA @ El Rey Theatre
10/10/10 San Francisco, CA @ The Independent
10/12/10 Seattle, WA @ Crocodile Café
10/13/10 Portland, OR @ Doug Fir Lounge
10/15/10 Vancouver, BC @ Venue
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Liz Phair's official site
Innocent Abroad: Chatting with Rachel Shukert
A laugh-out-loud tale of life as a young American expat in Amsterdam, Rachel Shukert’s memoir, Everything Is Going to Be Great: An Underfunded and Overexposed European Grand Tour, never lets the absurd (blood-drinking comedy club personnel, anyone?) overpower the author’s deeply moving story of finding herself amid the chaos of early adulthood. We recently caught up with Shukert in New York City to talk about youthful mistakes, and how you can’t really run away from home anymore (even though you should still try).
VENUS ZINE: You lived in Europe from 2003 to 2005. What parts of your experience fit in with the classic “young American in the Old World!” narrative, and what could only have happened in the early 2000s?
RACHEL SHUKERT: The story takes place during the very last gasp of that "classic young American abroad," just before it became completely impossible to run away somewhere and mostly lose touch with the place and the people you were running from. I arrived before universal WiFi, before everyone had a BlackBerry, before Facebook, before Twitter. If I needed to speak to someone, I had to call them from a special international calling center. It really was possible to have this feeling of strangeness and separation, whereas now, it's so different. Even the way we process experience has changed—in the past, you would have the experience, contextualize it, ponder it, and then document. Now, people document and experience simultaneously, and in the way the documentation becomes the experience. I think this phenomenon is going to cause a radical shift in autobiographical writing, so in a funny way, this book does feel to me like a little bit of a period piece. You won't ever really be able to lose anyone, or yourself, ever again.
VZ: You really own up to your youthful mistakes in this book—something which is, sadly, still considered pretty taboo for women. Why was it important for you to include the parts of the story that are unflattering?
RS: Because it's still taboo. When women write about difficult periods in their lives—the periods that are, frankly, the most interesting—they tend to deal with them in a few different ways. There is what Elizabeth Gilbert does in Eat, Pray, Love. She glosses over her own wrongdoing for the sake of likability, and then feels compelled to treat every character in the book in a similarly flattering light. There is the kind of memoir that seeks redemption, where the author is redeemed by confession. And on the other end of the spectrum, you get these books that very consciously try to be unapologetic and defiant, but can leave the reader feeling that the writer is a really callous person who treats other people like shit and seems to think that's ultimately okay.
I felt like it was important to forge a different path, and write in a way that faced my own mistakes head-on, but held myself accountable for them, too. For me, the essential principle of feminism has always been about women being acknowledged to be as fully human as men, as fully entitled and capable of the entire range of human experience and expression, good or bad. And for me, that means not letting yourself off the hook about certain things, but not being ashamed of them either.
VZ: Any advice for people pondering a move to the Continent?
RS: Go for it. You've got nothing to lose, especially now that everything in the world is ruined. Also, forget everything you learned at freshman orientation about not talking to strangers and make friends with some real weirdos. You won't be disappointed.
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ABOUT THE BOOK
Everything Is Going to Be Great: An Underfunded and Overexposed European Grand Tour
by Rachel Shukert
Harper Perennial
336 pages
The Weepies
The Weepies consist of Deb Talan and Steve Tannen, a pair of singer-songwriters (and a married couple), who have a laidback folk sound laced with a sweet pop sensibility—all of which can be heard on their latest release. Be My Thrill in one word? Pleasant. The 14 tracks are simple and uncomplicated, featuring natural instrumentation and layers of gentle harmonies. Considering the bountiful commercial use that the Weepies songs have seen throughout their career (according to the press release, their music has been featured in over 100 film and TV placements from Sex and the City to Grey’s Anatomy), such easy on the ears sounds make for ideal background music.
Considering where their songs have set the scene, it isn’t much of a surprise to find that the prevailing theme on Be My Thrill is love, and this is a duo that is not afraid to share what is in their hearts. Love songs like “Add My Effort” and lead single “I Was Made for Sunny Days” (which features the refrain “I was made for sunny days / And I was made for you”) manage to balance being sentimental without being hackneyed, while “Not a Lullaby” and “They’re in Love, Where Am I?” are earnest laments on loneliness.
For most of the disc, Talan serves as lead vocalist with Tannen adding harmony, except for a handful of tracks where the pair switches it up. It’s a formulaic pattern that’s rarely broken except for the acoustic “rocker” “How Do You Get High.” Fortunately for the Weepies sticking to the tried and true works and while Be My Thrill may not be thrilling, it sure is pretty.
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The Weepies official Web site
The Weepies MySpace page
Nettwerk Records
Selena Fragassi Loves (to Hate) What Courtney Wore Today
Frances Bean may think her mother is a “feral cat,” but C. Love would have us believe she’s the Queen of Sheba with her new blog, What Courtney Wore Today—a daily chronicle of the Hole singer’s abundant closet and her fondness for paper-doll playtime. Unfortunately, what the cat dragged in is not pretty. Love forgets there are no nine lives when it comes to fashion and her heyday as the baby doll dress impresario ended about the same time her band had a good album, some fifteen years ago. While we don’t suggest trying these faux pas on at home (especially you, Taylor Momsen) we do highly recommend checking in once a day for what not to wear. It's just too bad we can’t get Glamour's "fashion don't" black bar across her face, because what Courtney wore on her face today—that’s not pretty either.
Selena Fragassi is Venus Zine's music editor
What would you ask Corin Tucker?
Missing Sleater-Kinney? Yep, so are we but we couldn't be more excited that singer Corin Tucker is returning with her new eponymous band and a debut album out October 5—and that she's our Call & Response lady for Venus Zine's winter issue!
If you could ask Corin Tucker anything, what would it be? Send your questions to feedback@venuszine.com by September 9. We'll pick the best entries, and print Tucker's answers, in our winter issue, which hits newsstands on November 2.
Even better, everyone who submits a question will receive their choice of one of our Sleater-Kinney back issues. When submitting your question for the Call & Response feature, please also provide your mailing address and your selection of back issue, either #13 (summer 2002) or #24 (summer 2005).
Sahara Smith
Sahara Smith’s debut album plays like the diary of a front-porch crooner sharing her heartache under the setting southern sun. Myth of the Heart is clean, simply structured, and unpretentious, with the title track and “All I Need” playing as effortlessly as the summer breeze in which Smith probably wrote them. A gentle piano line over a walking bass is the syrup that makes her doughy falsetto go down nice and easy, while “Angel” glides on astral strings and plunges into Jewel-esque vocals, but “Mermaid” is the clear standout.
The quiet desperation of “Mermaid” is carried by Smith’s voice, which bends and blushes around violin strings with the finesse of a mythical creature. The song is about how time takes no pity on the heartbroken and everything is “growing fast and growing deep.” Intentional or not, Smith invokes James Joyce, the patron saint of hopelessness, by citing “an old hotel in Dublin / Growing heavy in Irish rain.” The cruel mixture of desire and impossibility bleeds on this song as if from an open wound, and when Smith sings “I’m happy for you,” don’t believe her.
When she lets her voice down from the ledge, things get spicy. The lone come-hither track, aptly titled “The Real Thing,” is where Smith trades in lace for leather, Jewel’s holiness for Bonnie Raitt’s grit, and gets her voice down deep where it counts: “I got this crazy idea and it’s growling at the surface.”
Myth of the Heart makes no secret that Smith’s heart has four wheels, as she intones “I wanna drive all night long and become another person / Until nothing is for certain,” but she still has to find the right keys. However, with the songwriting chops and mature vocals she has already shown, there’s no doubt she’ll be rolling the windows down and cruising across an endless stretch of land to a place four leaf clovers don’t grow.
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Sahara Smith MySpace page
Playing in Traffic Records
Just announced: Venus Zine Photo Contest Prizes
Think you have what it takes to photograph for Venus Zine? Now is your chance! Enter Venus Zine's 1st Annual Photo Contest for a chance to have your photo printed in the winter 2010 issue and win great prizes! Sponsored by the Museum of Contemporary Art Chicago (MCA).
And now for those fabulous prizes...

Each of the winners in these five categories—Street Fashion, Music/Concert, Travel, Portrait, and Food—will receive:
• a $50 gift certificate to Threadless
• a copy of Threadless: Ten Years of T-shirts from the World's Most Inspiring Online Design Community
by Jake Nickell courtesy of Threadless
• one brand spankin' new Holgawood Camera (in black) courtesy of MCA Chicago

The winner of the Readers' Choice category will receive:
• a $50 gift certificate to Threadless
• a copy of Threadless: Ten Years of Tees from the Worlds Most Inspiring Online Art Community by Jake Nickell courtesy of Threadless
• a Fuji Instax Mini 7S Instant Camera courtesy of MCA Chicago
The winning photos will also be published in the winter 2010 issue of Venus Zine!
Click here to enter and for contest details.
Lana Mir
What's not to love about Ukrainian singer Lana Mir's eponymous debut? I was hooked seconds into opener "Say You Need Me"’s vintage ‘60s-style acoustic pop and the rest of the album continues in a similar airy style. To add some variety, Mir spins hints of jazz and bossa nova into the mix, as on "Goodbye Girl" and the trippy and absolutely lovely cover of the Stone Roses' "I Wanna Be Adored." The record is bursting with emotion, Mir pouring herself into each song with her wistful, sultry voice, reminiscent of Feist, Sade, and even Billie Holiday. If you start to feel moody listening to the lyrics on songs such as "Summertime" and "Say You Need Me," it's because she knows how to hit a nerve with those haunting words.
Lana Mir may be a fresh new voice to North American ears, but this singer-songwriter powerhouse has proven in this impressive collection of songs that she possesses such talent she will without a doubt have a lasting impact.
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Lana Mir MySpace page
Dylan LeBlanc is a lonely guy
Don’t let the baby face or endearingly hesitant southern
drawl fool you; Dylan LeBlanc has felt the pangs of pain and misery. Week-long
benders, family woes, miles of regret—he’s seen it all. And at only 20 years
old, he’s already been compared to the likes of Townes Van Zandt and Neil Young
(who was also only 20 when he wrote “Broken Arrow”). Despite his age, the country troubadour sings with a well-earned,
heartfelt loneliness that’s altogether acrid, sweet, youthful, and wise. A
formula seldom found no matter how many decades you’ve seen come and go. Born in northwest Louisiana and reared in Muscle Shoals,
Alabama, LeBlanc was practically raised in a sound studio by local country
legends and his songwriter father. He spent his childhood observing, absorbing, and playing—had a guitar in hand by age seven and was writing his own music
by eleven. He dropped out of high school and took a job waiting tables,
harassing local hole-in-the-wall bars to let him play there in the evenings. If
any additional proof is needed, his debut album, Pauper’s Field (Rough Trade) is further evidence that Dylan
LeBlanc has music pumping through his young veins. It was only a matter of time before LeBlanc found himself
surrounded by music executives whose smug, disingenuous posturing did little to
encourage his desire for a record deal. “I’ve spent a lot of time
around people in the music industry and for the most part, they’re all the
same.” LeBlanc says. “They never listen to the whole song. They just sit in
their offices with that ‘I’ve got something to teach you’ attitude and make you
feel very stupid.” Rough Trade’s Geoff Travis proved to be the exception to the
rule. “I remember sitting in my car once, listening to music with Geoff. I told
him I had some songs I wanted to show him and he just sat there in my car,
listened to the whole song and didn’t say anything until it was over.” LeBlanc
pauses for a moment, remembering. “He is a true music lover—as much of an
artist as any of us writing the songs.” Travis’ kindness and unmistakable passion for music proved
the perfect fit for LeBlanc’s effortless sound and quiet demeanor. “I’m
more of a listener than a talker,” he confesses. “I feel like I’ve always had a problem with loneliness. Even
when I was a child, I can remember feeling very lonely, I’m not sure why… But I
love recording because I love making music. It’s like a miracle… It’s just a
miracle when it all comes together.” Meeting Emmylou Harris, who agreed to sing
backup vocals for “If the Creek Don’t Rise” was another instance of LeBlanc
creating a miracle. “I didn’t say a word, I was so nervous,” he remembers. “As
gracious and beautiful as you can imagine her being, she was.” The song is
mournful, lilting, and one of the album’s most memorable tracks. For such a young artist currently on his first roller
coaster of press junkets and public appearances, it’s obvious that LeBlanc
would still prefer to be alone in a room with his guitar. But he’s wise enough
to know that if country music won’t get out of his head, and this is the path
he’s found himself on, then quitting isn’t an option. “If I don’t make it in
music, I’m screwed,” LeBlanc declares, but then quickly recants. “No, I’m not
screwed. I’d still make music, there’s no other option.” — Dylan LeBlanc official site Dylan LeBlanc MySpace page
PHOTOS: Iggy and the Stooges in Chicago

Fresh from the Rock and Roll Hall of Fame Class of 2010 induction, Iggy and the Stooges returned to Chicago for an 80-minute set of "Raw Power."

Iggy Pop jams with an injured Mike Watt, former bassist for Minutemen, who didn't let a leg brace get in the way of a stellar rendition of "Search and Destroy."

At 63, Iggy Pop has not clearly not aged in energy or enthusiasm—nor has his music or fan reception. When not stage diving in the sea of sweaty bodies, Pop invited the crowd to join him onstage and they excitedly accepted.
Full Set List:
1. Raw Power
2. Search and Destroy
3. Gimme Danger
4. Your Pretty Face is Going to Hell
5. Shake Appeal
6. 1970
7. Night Theme
8. Beyond the Law
9. I Got a Right
10. I Wanna be Your Dog
11. I Need Somebody
12. Penetration
13. Death Trip
14. Open Up and Bleed
Encore:
15. Funhouse
16. No Fun
Various Artists
If there were two words to describe the soundtrack to Michael Cera’s latest vehicle, Scott Pilgrim vs. the World, based on Bryan Lee O'Malley’s beloved graphic novels, it would be these: Youthful exuberance. The album begins with a girl yelling, “We Are Sex Bob-Omb!” before crushing into a wail of guitar and drums, letting the listener know they’re in for an aural treat.
The record’s certainly not for a subdued, introspective type, someone who appreciates chamber pop, cello strains, and literate metaphorical lyrics based on, say, the poetry of Vladimir Nabokov. No, Scott Pilgrim is a rock ‘em sock ‘em carnival of high flying musicians who like to turn up the amps and get sweaty. Contributors include Plumtree (“Scott Pilgrim”), Frank Black (“I Heard Romana Sing”), Metric (“Black Sheep”), and Black Lips (“O Katrina!”). The Broken Social Scene fan favorite, 2002’s “Anthems for a Seventeen Year Old Girl,” is a cute number that builds into just that, an anthem, and is a highlight of the record. Another is Beck’s “Ramona,” a brief respite amid the falling Sex Bob-Ombs that’s reminiscent of his gloriously beautiful Sea Change (Geffen) days. And while we’re on the subject of Beck, he actually penned the four ditties Pilgrim’s band—the aforementioned Sex Bob-Omb—perform.
All in all, the album is a happy, clattering, joyous, rollicking musical hoop-de-doo, faithful to the comics and film, so I’ll give it two more words: Good fun.
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Scott Pilgrim vs. the World official Web site
Review: Slicker by Lucy Jackson
When the protagonist of Slicker, 20-year-old cynic-in-training Desirée Christian-Cohen, finds herself staring down a summer filled with parental disappointment, boyfriend disillusionment, and a beloved grandfather in failing health, she does more than shut out the world. She runs away to the first place her finger lands on the battered Rand McNally map decorating her bedroom wall. Honey Creek, Kansas, population 1,623, is her destination, a “place as distant and unfamiliar as the landscape of the moon."
Though a passionate lover of everything on her beloved Upper East Side, Desirée is no cultural snob. She views her Crosland adventure as an exercise in social experimentation. There’s no master plan, no place to stay, and no idea that the signs leading in to town which read “I AM THE WAY THE TRUTH AND THE LIGHT” and “Sin is a Cancer to All People” should clue her in to how a “half-Jew” may be received. Desirée quickly meets Honey Creekers who continually overshare personal information with world views shaped entirely within the confines of the Kansas plains. Desirée’s taken in by the most charming guy in town, Bobby McVicar, who plays guitar, sports a long braid, and is in every good way the opposite of the boring boyfriend she left behind at Yale.
Desirée’s family back in New York is struggling with discovery and acceptance issues of their own. Her mother, Nina, a professor, tries to reconcile that her husband, Patrick, left her for a domestic male diva and intellect named Jordan (aka "Lover Boy" in Nina’s parlance). Nina’s indispensible helper, Porsha, looks after Nina’s father with love and humor, until she quits after a minor misunderstanding; and her brilliant literature student, Kingsley, spends her nights stripping and lap-dancing for rich men so she can finance her graduate studies.
Jackson's richly drawn characters reveal themselves to be capable of so much more than just the stereotypes that come with geography, gender, and age. They all realize that labels (“Jew”, or “gay”, or “married”, or “stripper”) are just like those signposts outside Honey Creek: unsubtle messages that can be looked past with an eye that takes in the big picture.
Jackson is herself a mystery, as this is the second book written under the pseudonym for Marian Thurm. Thrum is a well-regarded literary agent who first used Lucy Jackson (a name inspired by her two cats) as a pseudonym when writing a book based on her own daughter’s private school in POSH. While hiding her own identity, she deftly strips it away in her characters.
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ABOUT THE BOOK
by Lucy Jackson
St. Martin's Press, August 2010
272 pages