Daily Archives: May 17, 2022

It sure seems like were making up for lost time when it comes to big outdoor summer concerts.

During the worst part of the pandemic in 2020, they were all but non-existent, and last summer, tour schedules were paired down and only a fraction of the usual number of large-scale outdoor shows took place in Maine.

This summer, however, the schedule is stacked.

Darlings Waterfront Pavilion is now the freshly renovated Maine Savings Amphitheater in Bangor and ready for a busy summer. Among the improvements are 214 new bathroom stalls, improvements to elevation and site lines and enhanced/increased food, beverage and merchandise sales points.

Vinegar Hill Music Theatre in Arundel is presenting some outdoor shows, as is Maine Maritime Museum in Bath and Maine Craft Distilling in Portland. Theres also a couple of shows that are part of the Whistlestop concert series, presented by Narrow Gauge Cinema in Farmington.

Meanwhile, Thompsons Point in Portland is about to launch into the busiest schedule its ever had with 21 shows booked and counting.

You want to dance? Sylvan Esso has that covered, and so do The Backstreet Boys. You want to rock out? There are plenty of shows for that (were looking at you, Aerosmith). You want to catch an 80s vibe? Hello, REO Speedwagon, Styx and Loverboy! And if you straight up just want to waste away (again) in Margaritaville, Jimmy Buffet is here for you.

To get you and your ears ready for a summer to remember, heres a highlight reel, so to speak, of some of whats in store, starting next weekend and heading all the way to September.

Head into Memorial Day weekend with a mega dance party starring Slyvan Esso, the duo of Amelia Meath and Nick Sanborn. Theyre three studio and one live album into a wildly successful career that includes a Grammy nomination for best dance/electronic album in 2017 for What Now. The band is celebrating its 10-year anniversary, and itll be a hip-swaying soiree with tunes like Ferris Wheel, Die Young and Dress. The latest album is 2020s mesmerizing Free Love.

Slyvan Esso with Samia7 p.m. May 26. Thompsons Point, Portland, $40 in advance, $45 day of show. statetheatreportland.com

Every little thing is gonna be all right in Arundel with a show from The Wailers. Reggae legend Bob Marley has been gone for more than 40 years, but his spirit lives on in his bands music. Youll happily sway to hits like Three Little Birds, Could You Be Loved, Buffalo Soldier and Jamming. In 2020, The Wailers released One World, its first album in 25 years, which earned them a Grammy nomination for best reggae album. The single One World, One Prayer features Marleys daughter, Cedella Marley, and her son, Skip Marley. Stir it up, little darlin, stir it up!

The Wailers6 p.m. June 3. Vinegar Hill Music Theatre, 53 Old Post Road, Arundel, $50. vinhillmusic.com

Indie-folk act The Head And The Heart released its fifth album, Every Shade of Blue, at the end of April and will be at Thompsons Point in early June to play songs from it and the four than came before, dating back to 2011. Most of the Every Shade album was made remotely in the band members individual studios during lockdown, and the end result is 16 tracks. Every Shade of Blue is a collection of songs that celebrates the beautiful mess that we were during this time of transformation, says vocalist and violinist Charity Rose Thielen. British singer-songwriter Jade Bird opens the show.

The Head And The Heart with Jade Bird6:30 p.m. June 4. Thompsons Point, Portland, $45 in advance, $50 day of show. statetheatreportland.com

Singer-songwriter Sheryl Crow released her platinum-selling debut album Tuesday Night Music Club in 1993, and 10 have followed. Her hits are many and include All I Wanna Do, If It Makes You Happy, Everyday Is A Winding Road, A Change Would Do You Good and My Favorite Mistake. Crow and her band have been dialed in for decades, and their live show is a fierce and fun showcase of their talent. Crow manages to be both commanding and funny on stage, and her high-energy performance will stay with you for days. Whats more, Crow chose one heck of an opening act with Grammy-winning blues legend Keb Mo. Brush up on all things Crow-related by watching the new documentary Sheryl, streaming on Showtime.

Sheryl Crow with Keb Mo6 p.m. July 13. Thompsons Point, Portland, $55 in advance, $60 day of show. statetheatreportland.com

It will be an all-out pilgrimage to Bangor for legions of Phish fans, aka Phishheads, as the band plays at Maine Savings Ampitheater on a midsummers evening. The multi-genre band crosses over into jam and rock and is known for lots of improv during is live shows. Phish formed in 1983 at the University of Vermont. Its debut album was released in 1989, and 15 have followed along with a number of live ones. Fronted by Trey Anastasio, the band also features longtime Mainer Jon Fishman on drums. Fishman moved to Lincolnville from Vermont in 2006.

Phish7 p.m. July 16. Maine Savings Amphitheater, Bangor, $49.50 to $95. waterfrontconcerts.com

Hey Parrotheads, chances are you wont blow out your flip-flop on your way to see Jimmy Buffett & The Coral Reefer Band in Bangor. But if you own a colorful Hawaiian shirt, nows the time to bust it out, ditto for the hula skirts. Its all about the accessories at Buffet shows, and certainly all about the preshow tailgate parties, which always embrace the fact that its 5 oclock somewhere. Chances are excellent youll find a cheeseburger in Bangor and a margarita or two. Fins up!

Jimmy Buffett & The Coral Reefer Band7:30 p.m. Aug. 2. Maine Savings Amphitheater, Bangor, $45 to $145. waterfrontconcerts.com

After a two-year hiatus, Guster On The Ocean weekend is back, starting with an Aug. 12 concert at the State Theatre during which the alternative rock band will play an acoustic set and there will also be a performance by singer-songwriter Josh Ritter. On Aug. 13, things move over to Thompsons Point where the gates open at 2 p.m. The jaw-dropping lineup features folk duo Shovels & Rope, indie-folk act Darlingside, singer-songwriter Amythyst Kiah (who just opened a show for The Who) and Maine singer-songwriter Pete Kilpatrick. There will also be a B-stage with comedy and improv. The weekend concludes on Sunday with Camp Guster at Camp Winnebago in Fayette.

Guster On The Ocean3 p.m. Aug. 13. Thompsons Point, Portland, $55 in advance, $60 day of show, $100 VIP. statetheatreportland.com

Heads up fans of Portland-based holler-folk act The Ghost of Paul Revere. ICYMI, the news recently broke that the band is disbanding after an 11-year run. This means that their Thompsons Point show is their swan song and will likely be an exuberant, emotional night for band members and fans alike. Theyre the headlining act of their annual Ghostland music festival, and this years lineup also features Hiss Golden Messenger, Marco Benevento and GoldenOak. Dont sleep on tickets, this one will surely sell-out.

Ghostland feat. The Ghost Of Paul Revere4 p.m. Sept. 3. Thompsons Point, Portland, $41 in advance, $46 day of show. statetheatreportland.com

For more than five decades, rock band Aerosmith has been blowing the roof off of venues, and this time around, theyll likely punch a hole right through the Bangor sky. Steven Tyler, Joe Perry, Tom Hamilton, Joey Kramer and Brad Whitford are all in their 70s, but dont think for a moment they wont be ready to rock. Theyll be coming into Maine on the heels of an eight-night run in Las Vegas, and a few days after Bangor, theyll head to Fenway Park. A scan of past setlists revealed that Aerosmith has many hits and like to play them live. Be ready to revel in the glory of Walk This Way, Sweet Emotion, Love in an Elevator, Cryin, Toys in the Attic and Rag Doll, to name just a few. Sing with them, sing for the year, sing for the laughter and sing for the tear but dream on if you think this show isnt going to sell out.

Aerosmith7:30 p.m. Sept. 4. Maine Savings Amphitheater, Bangor, $47.50 to $167.50. waterfrontconcerts.com

Wait. What? REO Speedwagon, Styx and Loverboy all at the same show? Believe in this 80s music miracle because its coming true and will close out the season at Maine Savings Ampitheater in Bangor. Its hard to wrap ones head around all of the jukebox hits youll hear that night, but on the ballad front, keep your ears open for REO Speedwagons Keep on Loving You and Cant Fight This Feeling, Babe from Styx and Heaven In Your Eyes by Loverboy. And when its time to rock, all three bands will be slaying with Take It On The Run, Renegade, Mr. Roboto, Too Much Time On My Hands, Turn Me Loose and Working for the Weekend. Climb aboard this starship and come sail away with this trio of iconic acts who will be slaying you with nostalgic tunes all night long.

REO Speedwagon, Styx and Loverboy6:45 p.m. Sept. 18. Maine Savings Amphitheater, Bangor, $28.50 to $353.50. waterfrontconcerts.com

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Make it a jam-packed summer with these outdoor concerts - Press Herald

With the death of Ronnie James Dio on May 16, 2010, rock music lost an iconic figure. The man whose mighty voice lit up the music of Rainbow, Black Sabbath, Dio and Heaven And Hell was truly a unique talent: a vocalist of immense power, expression and innate melodic flair, an elegant lyricist, and a storyteller of rich imagination.

There is magic in the words and voice of Ronnie James Dio.

Music was central to his life from an early age. Although he never received any formal vocal training, as a child he mastered French horn and trumpet, to which he later attributed the breathing control pivotal to his singing power. He played bass guitar in his first professional group, The Vegas Kings, a rockabilly outfit formed in 1957 and based in New York State. But it didnt take him long to answer his true calling.

By the end of 1958, he was lead singer of a new-look band, Ronnie & The Red Caps, later renamed Ronnie Dio & The Prophets after Ronnie had adopted a stage name appropriated from mobster Johnny Dio. Success did not come quickly. As the rock era dawned in the 60s, Dio toiled in obscurity as leader of the Electric Elves, subsequently shortened to Elf. But in the early 70s came the break that he had longed for, when Deep Purples Roger Glover and Ian Paice saw potential in Elf and elected to produce the bands self-titled debut album.

And from there, a strong connection was formed between the two bands a connection that led Dio to the man who would transform his career and change his life. Ritchie Blackmore, Deep Purples moody guitar hero, took a shine to Elf and especially their singer when the two bands toured together between 1972 and 1974.

And when Blackmore chose to make a solo record, having openly voiced his displeasure over Purples funk-influenced albums Burn and Stormbringer, he enlisted Dio and the other members of Elf, minus guitarist Steve Edwards. That album, titled Ritchie Blackmores Rainbow, was released in 1975 shortly after the guitarist quit Deep Purple. And it was immediately apparent that Blackmore had found the perfect foil in Dio, a singer whose voice and imagery were ideally suited to Blackmores baroque taste.

Ritchie Blackmores Rainbow was the album on which Ronnie James Dio came of age. After all the lean years before and with Elf, this was Ronnies golden opportunity, and he responded with a performance of complete authority. The albums opening track, Man On The Silver Mountain, set the template for so much to come: an epic, mystical tale rendered in a voice that soared and thundered. And Dio proved equally adept on the albums gentler songs, the poetic Catch The Rainbow, and The Temple Of The King, perhaps the most beautiful and elegiac song he ever recorded.

What followed was one of rocks all-time classic albums, establishing this new band now simply named Rainbow as a major force, and confirming Dio as a singer of unrivalled power. Released in June 1976, Rainbow Rising is the model of what aficionados like to call castle rock: heroic, fantasy-themed, progressive heavy metal built to a monolithic scale, and most potently illustrated by Stargazer, the albums vast quasi-symphonic centrepiece. Classic Rocks Geoff Barton, then writing for Sounds, summed up Rising perfectly, describing it as thermonuclear rocknroll.

How to top that? Ronnie almost did on Rainbows third studio album Long Live RockNRoll with the track Gates Of Babylon, another Stargazer-sized set-piece. But that record, best known for its anthemic title track, was to be Dios swansong for Rainbow, Blackmore replacing him with dapper Englishman Graham Bonnet as he pursued a more radio-friendly direction.

It was hard on Ronnie, being out of a job after just four years with Rainbow. But within a year he would be courted by another world-famous rock band and this would present him with the greatest challenge of his career. When announced as the new singer in Black Sabbath succeeding the much-loved Ozzy Osbourne Dio faced hostility from the media and from hardcore Sabbath fans.

To further complicate the issue, Dio was an American joining a quintessentially British band. But Dios debut with Sabbath, 1980s Heaven And Hell, silenced his critics. In Sounds, Peter Makowski stated: Ronnie James Dio has injected a whole new energy into the group Just sit back, turn it up and feel your brain implode.

Simply put, Dio made Black Sabbath great again. His gift for melody, and his poetic sensibility, brought a lyrical quality to Sabbaths music and inspired Tony Iommi in particular, whose lead guitar work on the albums phenomenal title track is the best he has ever played. And crucially, Dio could also handle the really heavy stuff, as he proved emphatically on Neon Knights, arguably the heaviest of all Sabs songs. Nobody has ever sung a heavy metal song better than Ronnie did with Neon Knights.

He would make another great album with Sabbath, Mob Rules, released in 1981. But as so often happens, a combination of heavy touring and personality clashes led to a split in 1982 amid rumours that the rival parties had been tampering with the mix of the live-in-concert album Live Evil.

Many years later, Ronnie would dismiss these stories as bullshit, but on the cover of Live Evil there was a small detail that spoke volumes of the animosity between Sabbath and Dio: the singer was billed not as Ronnie James Dio but as plain Ronnie Dio. It was a cheap shot to which Ronnie reacted by forming a new band under his own name, a band whose first album would blow Sabbath out of the water.

Holy Diver, released in June 1983, is one of the great heavy metal debuts. The band Ronnie put together featured two familiar faces former Rainbow colleague Jimmy Bain on bass, and fellow Sabbath fugitive Vinny Appice on drums plus a relatively unknown and inexperienced guitarist in 19 year-old Vivian Campbell, previously of Irish band Sweet Savage. But they made a tight unit: Bain and Appice rock solid, Campbell flashy and fiery. And with Ronnie now undisputed group leader for the first time since Elf, Holy Diver was the album on which his singular artistic vision was finally realised.

Its a record packed with classic songs, not just Dio classics but genre-defining heavy metal classics: Stand Up And Shout, Holy Diver, Rainbow In The Dark, Dont Talk To Strangers. By comparison, Sabbaths Born Again, featuring Dios surprise replacement Ian Gillan, was widely regarded as a joke, even before Spinal Tap lampooned the Sabs Stonehenge stage set.

Throughout the 80s, Dio the man and the band maintained a large and loyal following. Band members came and went, beginning with Vivian Campbell, who went on to Whitesnake and then Def Leppard. In 86 Ronnie organised Hear N Aid, heavy metals answer to Band Aid, a charity project for African famine relief that produced a hit single, Stars, written by Ronnie and sung by a hairy ensemble cast featuring members of Mtley Cre, Iron Maiden and Judas Priest.

And if no subsequent Dio album ever matched Holy Diver, Ronnie continued to deliver great songs (We Rock, The Last In Line, Sacred Heart, RockNRoll Children) and spectacular live shows. (Nobody who saw Ronnie battling Dean The Dragon on stage could ever forget the experience!)

Then, in the early 90s, came an astonishing volte-face. Ronnie rejoined Black Sabbath. It didnt last. They made a half-decent album, Dehumanizer, but when Sabbath were invited to support Ozzy on what was billed as the Double-Os farewell tour, Ronnie pulled out and Rob Halford of Judas Priest acted as stand-in.

Ronnie re-launched Dio in 1994, and in the next 10 years the band recorded five albums with varying line-ups. But for Ronnie, Black Sabbath was unfinished business, and in 2007 he reunited with Iommi, Appice and bassist Geezer Butler as Heaven And Hell. This would prove to be Ronnie James Dios last hurrah.

Initially, Ronnie had intended to reform Dio after Heaven And Hells world tour, but such was the success of that tour, and so strong was the vibe in the band after recording three new tracks for the Black Sabbath compilation The Dio Years, it was decided that Heaven And Hell would record a brand new album. That album, The Devil You Know, was released to widespread acclaim in 2009. It would be the last of Ronnies recordings released in his lifetime.

The death of Ronnie James Dio has had a profound effect both on those who knew him and those who simply loved his music. For this writer, there are many memories to cherish. Ronnie was the first rock star I interviewed as a professional journalist, back in 1985, when he was promoting Dios Sacred Heart album. It was a huge thrill for me to meet him. Since 1980 when I unwrapped a Christmas present from my brother, a cassette of Heaven And Hell I have been a Ronnie James Dio fan. I first saw Ronnie on stage with Dio at the Hammersmith Odeon in 1984, on The Last In Line tour. And across the years Ive seen Ronnie play so many great shows: at Birmingham NEC with that bloody dragon, at Londons Astoria performing the whole of Holy Diver, and the last time, at Brighton Centre with Heaven And Hell.

My last interview with Ronnie was just a couple of years ago, when he was in London with Heaven And Hell. What I remember most of all was the warmth of the rapport between him and Tony, Geezer and Vinny. I asked Ronnie about a phrase he used many times in his lyrics, a phrase that had become akin to a trademark: Look out! Hed used it in Holy Diver, in Rainbow In The Dark, and a record-breaking five times in Sabbaths Children Of The Sea.

He smiled. Its funny. Whenever I play in Phoenix, this one guy is always there, and every time Im going to sing it he holds up sign that says Look Out! I take it as a compliment! He was right: it is a compliment.

When I had a leaving party after 10 years working for Kerrang!, the invitations featured a photo of Ronnie with a stuffed eagle and the headline: Look Out! It was a tribute to the man who, for me, best epitomises the spirit of heavy metal. In a 2009 issue of Classic Rock, I stated: Of all the legendary heavy metal singers, Ronnie James Dio is the greatest.

And there are many, all over the world, who share that opinion. I recall a drunken night with friends in Brighton when the conversation inevitably turned to heavy metal, and, specifically, singers at which point one friend threatened to walk out of the pub unless we all agreed that Ronnie James Dio is the No.1 metal singer of all time. We agreed, the friend stayed. Rob Halford was voted No.2.

Ronnie James Dio sang so many great songs: Man On The Silver Mountain, Sixteenth Century Greensleeves, The Temple Of The King, Stargazer, Tarot Woman, Starstruck, Kill The King, Long Live RockNRoll, Neon Knights, Children Of The Sea, Heaven And Hell, Die Young, Stand Up And Shout, Holy Diver, Rainbow In The Dark, The Last In Line, We Rock. But if there is one song, above all others, with a lyric that best captures the essence of Ronnie James Dio, it is Sacred Heart: Whenever we dream, thats when we fly. He dared to dream, and he flew high.

Rest in peace, Ronnie.

This tribute appeared in Classic Rock 147, in June 2010.

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Ronnie James Dio: the life and the legend - Louder

Its a balmy Wednesday afternoon in April, and Hayden Anhedonia is basking in the sunshine of her Alabama home. Dressed in a white T-shirt advertising her independent label Daughters of Cain, the 24-year-old makes it clear that she is the one speaking Oh, call me Hayden, for sure, she says over a Zoom call, smiling.

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Thats an important distinction for Anhednia to make most people know her as Ethel Cain, the dark, brooding, God-fearing alternative artist taking the industry by storm. Having a stage name isnt uncommon among artists in 2022, but for Anhednia, Ethel Cain is so much more than a nom de plume.

Ethel Cain is kind of my dark, evil twin, Anhednia offers directly, before taking a moment to clarify. Shes not evil, per se, but we have both been through similar situations. If I didnt choose to heal and forgive and forget, I would be ultimately destroyed, which is what happens to her. She is the mirrored version of what my life would be like if I chose not to get better.

The mythos around the character of Ethel Cain is long enough to fill a novel or a film or, in Anhednias case, a concept album. Preachers Daughter, her glorious debut LP (out Thursday, May 12 via Daughters of Cain), tells the story of the titular character coming to terms with an imperfect existence; abuse, ignorance, societal standards, love and hatred all set Cain on a fateful journey as she ventures on a destructive path of self-discovery.

Its a big story, Anhednia admits. Its this all-American girl who crumbles under the weight of God and country. The American Dream is unachievable being a perfect daughter, a perfect Christian, all of these weights that are put onto young American people are impossible. I like to think of this album as a cautionary tale of what would happen if you dont free yourself from these imaginary chains, in terms of religion, family and expectation.

Preachers Daughter is a story that Anhednia has been crafting for the vast majority of her adult life after leaving her close-knit, religious family home in Florida at the age of 18 and beginning her transition process, the singer started writing this album, dedicating her time to making sure the songs reflected the narrative beats she intended to touch on, while also standing on their own.

Even as she begins to talk about its release, Anhednia is still in shock that Preachers Daughteris going to be released. Everything I have done has been working up to this album, she says, as a look of awe comes across her face. Everything in my whole life has been leading up to finishing this record.

Making the album meant much more than simply writing the songs since the start of her career (under her former stage name White Silas), Anhednia has made it a point to perform, write and produce all of her music herself. It started out through necessity having no professional connections to producers, and armed only with a cracked-version of GarageBand on an old school laptop, Anhednia had to teach herself how to produce in order to survive the industry.

Nowadays, those connections have formed Daughters of Cain, the independent label Anhednia created and releases her music through, operates as an imprint of the industry-shaping publishing company Prescription Songs. Yet throughout Preachers Daughter,Ethel Cain is listed as songwriter and producer on all 13 songs, with only the occasional assist.

I guess I dont play well enough with others, Anhednia offers dryly before letting out a laugh. The world that I am building has been built in tandem with my production skills and my production knowledge, and it all influences each other. So bringing in another producer would completely shift the narrative. This story is being told sonically as well; the rise, the fall, the swells, the reverb, every turn of a knob, of a dial, of a slider, it all affects the story!

Of course, that doesnt mean that the singer did everything herself. When faced with a creative need for more instruments throughout her album, paired with a lack of experience playing said instruments, Anhednia turned to a few trusted collaborators, including multi-instrumentalist Matt Tomasi, to contribute to her sound. That was really hard hes very good at what he does, and even still, as good as he was, I was very nervous, because I was so used to having my hands on it up until the day that I submit it, she says.

Anhednia says shes glad that shes in control of her own sound, and is even happier to see more up-and-coming artist taking the reins of production into their own hands. I go on TikTok every now and then and by now and then, I do mean all of the time, I am addicted to the endless media scrolling and see kids on there that are learning how to produce, she says with an excited smile. I swear to God, the industry is going to see a big shift towards the favor of the artist in the near future, when the artist relies less on the industry to make music. Thats what Im excited about.

Throughout the album, those self-produced flourishes remain intact her fusion of alternative, folk, pop and rock all blend together, allowing the listener to find themselves adrift in her blissful sonic universe. And then, they start listening to the words. Ethel Cain has become well known for pairing heavy, foreboding lyrics over ear-pleasing melodies in her past releases, andPreachers Daughter is no exception to that trend. Throughout her album, the story of Cain follows through-lines of suicidal ideation, heartbreak and loss of faith.

But one theme throughout the album is Cains in-depth exploration of abuse, both sexual and otherwise. Framed through the narrative of a daughter running away from a father who doesnt understand that some types of love could be bad as she sings on Hard Times, Anhednia said that the writing process of this album was a way for her to let go of her own trauma regarding abuse.

When I write it into a song and this is one of the reasons that I created this alter ego instead of releasing it as myself is that its like I give it to her, Anhednia says. When its happening to her, its no longer happening to me, its now her problem.

One particular song where Anhednia explores the fallout from abuse is Ptolemaea, a late-album track that sounds like it was lifted off of the soundtrack of a psychological horror film. The songs outro, spoken in a demonic voice and barely audible over explosive guitar feedback, offers a twisted blessing that hammers the point home: Blessed be you, girl, the distorted voice sneers. Promised to me by a man who can only feel hatred and contempt towards you.

The song was named after one of four concentric rings of the Ninth Circle of Hell as depicted in Dantes Inferno, dedicated to those who betrayed their guests, which immediately struck a chord with Anhednia. I was immediately like, Thats how it feels. When someone invites you in, brings you into their life, just to hurt you. I was scared of the demo the next day when I listened to it.

Without going into the specifics of her own experiences, Anhednia makes it clear that she has given herself the time, space and consideration to heal from her own experiences, and shes ready to allow herself to move on. At first, I was very angry, very resentful. Now, Im ready to let go, she says. One of the things I always tell my friends is that somebody can stick a knife in your back one time, but you dont have to keep taking it out and stabbing yourself with it over and over again. Like, I am done, I am tired of this being a recurring theme, Im tired of it affecting my relationships with new people Ive just met, Im tired of it ruling my life! So I really went into forgive and forget mode.

As with many of her past releases,Preachers Daughter also explores her own identity as a transgender woman navigating the world after being raised in a fanatical Southern Baptist community. Bringing in themes of modern womanhood and the fetishization of femininity in religious circles, Anhednia wanted to make it clear on her debut that both she and her alter ego are fully-formed transgender women.

But Preachers Daughternever veers toward stereotypical or glamorized depictions of what it means to be trans in fact, it often goes out of its way to steer into the mundane and temporal aspects of life as a trans woman. According to Anhednia, its her quiet way of bringing attention to the fact that trans people are not a monolith.

I want some variation for the trans experience as depicted in trans art, Anhednia explains. Ethel Cain the character is trans, but I didnt make it a big part of the story because to me, being transgender is kind of boring. Its like, I have brown hair, Im transgender its very whatever, you know? Ultimately, its not about the identity itself, its about the freedom to be whatever you are.

That being said, Anhednia says she does hope other trans people who have felt left out of certain depictions of trans people in media feel seen in her work, especially given the ongoing attacks against trans lives in state legislatures around the U.S. I try not to follow whats happening, and it still winds up on my timeline thats how you know that it is bad, she says with a sigh. We have a humanization problem, where these people [right-wing lawmakers] see you as a stereotype and not as a person. I hope that, in time, we will start to see a softening on their part as we keep becoming visible.

Preachers Daughter contains an ending that feels very final for the character of Ethel Cain after carving her way through the countryside, struggling to understand her own trauma, Cain ends this chapter with Strangers, a song that revels in its own muddled worldview of the myth of a happy ending. Conjuring up images of women in freezers and Cains face on the side of a milk carton, Anhednia leaves the ending grey, but hints at a gruesome fate for Ethel.

Despite this, Anhednia is steadfast in saying that there is much more to come from Ethel Cain. Its a trilogy, she says, matter-of-factly. This story is the end of her story, and then its going backwards up her family tree the first record is about Ethel, the daughter, the next record will be about her mother, and then the third will be about her grandmother.

As for herself, Anhednia is similarly prepared for the future, listing off the myriad goals she intends to tick off her list in the coming years. I really just wanna start beefing up all of my skills, to be honest, she says, listing off writing a book, producing an Ethel-inspired film, releasing experimental music under name and learning to sew again as just a few of her goals. I wouldnt say Im a musician or a filmmaker, Im just a storyteller, and there are a lot of ways that you can tell a story. I want to go find all of them and put them under my belt.

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The Book of Ethel Cain: How the Alternative Phenom Built Up Her Own Reality Only to Tear It Down - Billboard

Fans of American Auto are in for some good news.

According to The Hollywood Reporter, NBC has picked up American Auto for a second season. NBC has also renewed Grand Crew and a third season of Young Rock. All three shows are produced by NBCs sister studio, Universal Television.

Superstore might be over, but creator Justin Spitzer was back on TV lending his comedic prowess to American Auto, which is set in the office of a Detroit automaker company. The cast features Saturday Night Live alum Ana Gasteyer leading an ensemble cast that includes Harriet Dyer, Jon Barinholtz, Humphrey Ker, Michael B. Washington, and Tye White.

In a recent interview, Spitzer discussed the future of network sitcoms after first getting his start writing for The Office.

I mean, I dont know that network sitcoms are any worse than in any other time. Networks, I think, have a broader audience to reach, he said. In terms of what drives the zeitgeist right now in TV culture, its not network sitcoms.

Its not like it was with the Cheers era, Seinfeld, Friends. Its a different era, he admitted. He added that come awards time, it doesnt help for your show to be on a network. And thats something those of us on a network have come to accept, but that can still change.

I think theres alot of very good network comedies, and I think a lot of good writers writing on networks, Spitzer continued. And I feel like if you have a show that can appeal to a broad audience, that doesnt feel like its too niche, why not make it available for as many people as possible?

And thats not to say I would never want to do streaming or cable, I think I absolutely do, he added. But this show feels like it can be on a network. And having grown up in the world of Cheers, and Friends, and eventually The Office and stuff, theres still something kind of nice about that. About that eight oclock, same time every week. That, I dont know, maybe the nostalgic part of me still loves.

Unfortunately, the show only holds a 51% audience score on Rotten Tomatoes.

If this show were written by predictive text it would have been far better, wrote Jesse A. The characters are flat and empty. The actors appear to be doing their best to fight the poor writing and direction but just dont yet have the chemistry to pull it off.

However, Isaiah M wrote, I was a bit worried American Auto would be the typical CBS sitcom aimed at disillusioned Boomers waiting to die. Although it periodically feels this way at times as it finds its way, American Auto is overall a hysterical new show thats willing to deal with our awkward, unlikeable selves in a way that continuity makes them all the more likable.

Greg M wrote, This show is much better than the audience thinks. I will say much of the humor is a pretty dark look at modern capitalism, but if youve ever been in a large company, parts are simply so hilarious and a bit too close to reality.

It remains to be seen if American Auto will be able to pull in new audiences for its sophomore season. A release date has yet to be announced.

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NBC Gives 'Superstore' Creator's 'American Auto' The Green Light - The Blast

Ozzy Osbourne remembered first encountering Metallica when he took them on the road in 1986. The Black Sabbath legend and heavymetal singershared what it was like meeting the metal band who were then up and coming, giving thoughts on their ascent.

But he shiedaway from stories surrounding talkof Metallica's hard-partying ways. Osbourne called them a "nice bunch of guys" and mentioned Metallica singer-guitarist James Hetfield's many skateboarding mishaps when he talked about their time together.

Metallica opened for Ozzy on the first American leg of his solo "The Ultimate Sin Tour" in 1986. For Metallica, it was the opening leg of their 198687 "Damage, Inc. Tour." Perhaps the joint portion of the trek could've been called the "Ultimate Damage Tour," alas,Osbourne didn't divulge any debauchery or destruction.

Instead, when asked what Metallica were like, he gavean amusing taleto Metal Hammer. "I remember walking past the dressing room," hesaid. "They were playing Black Sabbath. I had no idea they were big fans. I thought they were taking the piss!"

Osbournecontinued, "While we were on tour, I'd keep seeing James hanging about like he wanted to ask something. Eventually, he walked up and said, 'We want to play [Black Sabbath's] 'Paranoid' with you,' and we were like, 'Sure!' Then they showed just how big Sabbath fans they were. [Late Metallica bassist] Cliff [Burton] had a massive smile on his face the whole time."

Osbourne added, "Of course, it all came back around, when I got up to do it with them at the Rock and Roll Hall of Fame [in 2009], which was brilliant too. To us, they were just a nice bunch of guys! The wildest we had from them was James, who must have broke his arm three fucking times on that tour skateboarding."

Injuries aside, Osbourne could sense Metallica were going to be huge. "You could tell just from how the crowd reacted every night," he said. "But you know, they're a great band. I remember it all really took off when they put out 'The Black Album.'"

And as luck would have it, current Metallica bassplayerRobert Trujillo would perform with both Ozzy and Metallica. The onetime Suicidal Tendencies bassist joined the former in the late '90s. He became a member of the latter in 2003 to replace Jason Newsted.

"Rob has always been a great friend of mine," Osbourne said, offering some insight into Trujillo's switchfrom Ozz to Met. "He's a great bass player and a great guy. He's the only guy who, when it came time to move, did things the right way. I always ask that the guys who play with me, if they get another offer and want to move on, that's fine, just don't drop me in the shit, give me time to get a replacement. Rob's the only guy who ever did things right by me for that."

In recent Ozzy news, Osbournetested positive for the coronavirus, as did his wife, mediapersonality Sharon Osbourne. Around the same time, their daughter Kelly Osbourne confirmed she's pregnant with child with her partner, turntablistSid Wilson of the metal bandSlipknot. Last week, Metallica were surprisedto learn a baby was born at one oftheir concerts.Hetfieldcalled to congratulate the mother.

It's unclear when the Metallica-focused Metal Hammer interviewwith Ozzy was conducted. ReliveMetallica's 2009 performance with Ozzy in the video below.

See Loudwire's picks for the Top 66 Hard Rock + Metal Frontmen of All Time

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Ozzy Shares What Touring With Metallica Was Really Like - Loudwire

Jon Bon Jovi has been criticized a lot as of late over his recent vocal performances, even though he is now 60 years old. Now,The Darkness vocalist Justin Hawkinssuggests that the mega star could benefit from therapy in order to help his voice.

During clips from Bon Jovi's 2022 performances, it's evident that the band has lowered the key of many of their songs to match the vocalist's now lower register. Though fans have commented praising his physical energy onstage, many have pointed out that he seems to be struggling to reach notes that he's known for belting out.

See some videos of the performances below.

In a video titled "What's Wrong With His Voice?!" on Hawkins' YouTube Channel Justin Hawkins Rides Again, the Darkness singer dissected some of these videos and pinpointed the differences in how he sings now as compared to the studio versions of their massive hits, including "Wanted Dead or Alive" and "Livin' on a Prayer." He also explained what he thinks the problem may be, and that Bon Jovi should stop touring for now so that the frontmancan work on it.

"Bon Jovi has been on tour this year but unfortunately fans and critics have noticed that his performances are... lacking?" Hawkins wrote in the description of the video. "I have the utmost respect for Jon Bon Jovi and everything I'm saying here is just speculation I wish him nothing but love."

Early in the video, Hawkins pointed out that plastic surgery can inhibit the ability to wail at a certain range because the face can't stretch properly to do so, though he doesn't say whether or not he thinks Bon Jovi had any procedures done on his face.

"He's got a lovely face. But he's not as young as he used to be, he's been doing this for what 40 years or something like that? It's a long time," Hawkins elaborated.

The singerthen added clips of a recent performance of Bon Jovi performing "Wanted Dead or Alive," and showed on his guitar how much they down-tuned it from the original register heard on the studio rendition of the track. He also suggested that some vocalists modify their delivery of a song when they've been playing it for decades and decades.

"This sounds like he's really tired, and he's sort of half-going for [it]," Hawkins continued, singing the melody of the chorus and emulating the way Bon Jovi performed it in the video. "It's sad. It's not much fun to watch really, especially as a singer."

Hawkins went on to note some comments that people left on the Bon Jovi videos, one of which said, "Jon... go to your massive mansion and enjoy life. We respect you and you should, too."

"That's actually quite a good sentiment," Hawkins reacted. "My career is not as long as Bon Jovi's, and not as big as well, even at the level that we've experienced. If you're in a situation like that and you can't deliver the goods and you can't give the audience what they deserve, that's horrible. It's a horrible feeling and you don't enjoy touring in that condition. You just want to go home, and I expect he's feeling the same way. But there must be a huge machine around Bon Jovi that stops him from being able to pull the plug on it, which is what needs to happen I think."

"I'm not talking pull the plug forever. It sounds like he needs some kind of therapy... It doesn't sound like it's a polyp or some sort of lump on his vocal cords, because that would be more unpredictable he'd be hitting the notes and then it would squeak off and it would do something unexpected," he continued. "That's not what's happening here. It sounds like he's super tired and everything has gone down."

Whileit initially sounded like Hawkins was referring to vocal therapy or lessons, he actually stated he thinks Bon Jovi is suffering psychologically, and thattalking to someone might help "coax his performances back out, because it doesn't sound to me like there's damage in there." Additionally, he mentioned that struggling with pitchwhile singing can be a result of hearing issues.

Hawkins himself has dealt with vocal issues prior, telling Loudwire in a 2021 interview, "The very lowest point of my singing career was just before I had a procedure on my vocal cords and I had a polyp on there, a big one, which was scary. I found it at the beginning of the tour and I had to go through this whole six week tour knowing there was a lump on my voice box."

The singer stated that after having his procedure, everything is now comfortable again, as he knows how to prepare for shows and warm down as well.

Watch the full video below.

See Loudwire's picks for the Top 66 Hard Rock + Metal Frontmen of All Time

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The Darkness Singer Suggests Jon Bon Jovi Needs Therapy - Loudwire