{"id":1963,"date":"2020-01-10T15:33:58","date_gmt":"2020-01-10T15:33:58","guid":{"rendered":"http:\/\/perfectmusictoday.com\/?p=1963"},"modified":"2020-02-12T19:46:42","modified_gmt":"2020-02-12T19:46:42","slug":"tammy-faye-starlite-brings-whyd-ya-do-it-marianne-faithfulls-broken-english-to-joes-pub-monday-march-16","status":"publish","type":"post","link":"https:\/\/perfectmusictoday.com\/index.php\/2020\/01\/10\/tammy-faye-starlite-brings-whyd-ya-do-it-marianne-faithfulls-broken-english-to-joes-pub-monday-march-16\/","title":{"rendered":"TAMMY FAYE STARLITE BRINGS WHY\u2019D YA DO IT? MARIANNE FAITHFULL\u2019S BROKEN ENGLISH TO JOE\u2019S PUB MONDAY MARCH 16"},"content":{"rendered":"

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Michael Hepworth<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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www.perfectmealtoday.com<\/a>, www.spiritsman.com, <\/a>www.perfectskintoday.com<\/a>, www.perfecttraveltoday.com, <\/a> www.perfectmealtoday.com<\/a>, www.perfectmusictoday.com<\/a>, www.perfectgolftoday.com<\/a><\/p>\n<\/div>\n

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ONE NIGHT ONLY!\u00a0<\/b><\/div>\n
TAMMY FAYE STARLITE BRINGS\u00a0WHY\u2019D YA DO IT?\u00a0<\/i><\/b>MARIANNE FAITHFULL\u2019S\u00a0BROKEN ENGLISH<\/i>\u00a0 TO JOE\u2019S PUB MONDAY MARCH 16<\/b><\/div>\n
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New York (Perfect Music Today 1\/10\/20″Now, the downtown rock raconteuse Tammy Faye Starlite is celebrating the 40th anniversary of the album \u2014 \u2018my magnum opus, my gesamtkunstwerk,\u2019 she says, narrating the show as Ms. Faithfull \u2014 in \u2019Why\u2019d Ya Do It,\u2019 a hybrid of s\u00e9ance, lecture and concert…her mastery of Ms. Faithfull\u2019s singing voice is extraordinary, down to the tremolo that punctuates some words like a stifled sob.\u201d\u00a0– Elisabeth Vincentelli\/NY Times\u00a0Critic\u2019s Pick\u00a0<\/b><\/div>\n
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“Now, as Marianne Faithfull, British pop\u2019s queen of survival, Starlite resurrects 1979\u2019s Broken English as a thoroughly modern tale of adventure, abyss and hard-won vengeance \u2014 one of the most brutally frank albums of its time, made flesh again, in poignant lethally honest character.<\/span>\u201d<\/span>\u00a0– David Fricke\/Rolling Stone\u00a0<\/span><\/div>\n
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\u201cTammy Faye Starlite’s performance of Marianne Faithfull’s Broken English in Why’d You Do It? channels all of that album’s terror, ferocity and vulnerability — and then some. \u2026her portrayal has grown more passionate, more visceral, more provocative, more unnerving. The lines between the two women fracture, and the result is shattering — and profoundly moving.\u201d – Anthony DeCurtis\/ Author of\u00a0Lou Reed: A Life<\/i><\/div>\n
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\u201c..brilliantly inhabits the outsized persona of Marianne Faithfull\u2026. (an) alternately stark and darkly funny performance\u2026.\u201d – Steve Futterman\/The New Yorker<\/div>\n
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\u201cTammy Faye Starlite’s channeling of Marianne Faithfull is not so much tribute as celebration. She assumes Marianne’s persona with a sly and respectful humoresque, inhabiting the songs, constructing a virtual biography that interprets and reveals the inner artist who created Broken English, whose tale is one of triumph and transcendence Tammy’s resurrection is yet another life unfolding, in a performance that bares the soul and touches the heart.\u201d – Lenny Kaye\/Author of\u00a0You Call It Madness<\/i>\/Little Steven\u2019s Underground Garage SiriusXM<\/div>\n
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\u201cHaving produced many records with Marianne as well as being a close friend for 34 years, I was reluctant to see Tammy Faye as Marianne. I have to admit that I was astonished as Tammy does not initiate Marianne at all. She totally captures the feeling of being with her which is an amazing achievement… and the audience went apeshit. So, what can I say? Just go\u2026 Tammy Faye got it right.”\u00a0– Hal Willner\/legendary music producer<\/div>\n
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\u201cSo here in 2019 we were blessed (or perhaps damned?) to have Tammy Faye Starlite replicate this ground-breaking album, a tour de force performance of the comeback of a major artist…Tammy Faye morphs into Marianne with vigor, rage, savagery. And songs are interspersed with often hilarious or, more often, scary catatonic rants about fucking anything that comes to mind. Now that I have been exposed to the unsurpassable talent of Tammy Faye Starlite it is my intention to keep her sharply on the radar.\u201d\u00a0– Steve Nardoni\/Theater Pizzazz<\/div>\n
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Last fall’s sold-out theatrical six week run of\u00a0Why\u2019d Ya Do It?: Tammy Faye Starlite Performs Marianne Faithfull\u2019s Broken English<\/b><\/i>\u00a0at Pangea was a NY Times Critic\u2019s Pick with Elisabeth Vincentelli calling the performance \u201ca hybrid of s\u00e9ance, lecture and concert,\u201d noting of Tammy, \u201cher mastery of Ms. Faithfull\u2019s sining voice is extraordinary, down to the tremolo that punctuates some words like a stifled sob. As for the song that give the show its title, Ms. Starlite give it all the spite and bile it requires.\u201d \u00a0She went on to mention the fact that \u201cthere is a living connection to \u2018Broken English\u2019 onstage: the guitarist Barry Reynolds, who helped write and played on part of the album is in the five-piece backing band.\u201d<\/div>\n
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Tammy is mounting a one-night only encore presentation of the celebrated piece at Joe\u2019s Pub on Monday, March 16 with tickets now on sale at<\/div>\n
https:\/\/publictheater.org\/productions\/joes-pub\/2020\/t\/tammy-faye-starlite-whyd-ya-do-it\/<\/a><\/div>\n
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This production will again include the participation of Barry Reynolds, who collaborated with Faithful on the groundbreaking album that was released 40 years ago and had a hand in composing half of the album’s songs including the title track and the notorious \u201cWhy\u2019d Ya Do it?\u201d \u00a0Reynolds is part of an all-star backing band that features<\/div>\n
acclaimed Hungarian violinist Eszter Balint who has released two critically lauded album of her own and, as an actor, starred in the Jim Jarmusch films\u00a0Stranger Than Paradise<\/i>\u00a0and\u00a0The Dead Don\u2019t Die.\u00a0<\/i>Reynolds and Balint are joined for the run by bass virtuoso Keith Hartel, guitarist Richard Feridun and David Nagler on keyboard.<\/div>\n<\/div>\n
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The current production of\u00a0Why\u2019d Ya Do It?: Tammy Faye Starlite Performs Marianne Faithfull\u2019s Broken English\u00a0\u00a0is directed by Michael Schiralli whose credits include Varla Jean Merman and the Mushroom Heads,\u00a0<\/i>Scraping the Bottom: The Most Offensive Songs of Jackie Hoffman\u00a0<\/i>and Tammy Faye\u2019s own acclaimed\u00a0Nico Underground,\u00a0<\/i>plays\u00a0every Thursday in October with the run concluding on Halloween.<\/div>\n<\/div>\n
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Tammy Faye\u2019s earlier\u00a0Cabaret Marianne<\/i>\u00a0performance piece was cited in\u00a0The NewYork Times\u00a0as a \u201cjaw dropping show.\u201d In his review, Stephen Holden wrote, \u201cTammy Faye Starlite went all the way: impersonating Marianne Faithfull, rock music\u2019s \u2018fallen woman,\u2019 with an uncanny accuracy. Her simulation of Ms. Faithfull\u2019s vocal style and combustible blend of arrogance and scabrous sarcasm only begins to tell the story.\u201d\u00a0Tammy Faye originally performed\u00a0Broken English<\/i>\u00a0at Lincoln Center and brought it to Joe\u2019s Pub and The Metropolitan Room; later she performed\u00a0Marianne Faithful: Exposed<\/i>\u00a0at Joe\u2019s Pub and McCabe\u2019s in Los Angeles. \u00a0Thereafter, she took\u00a0Cabaret Marianne<\/i>\u00a0on the road to Provincetown, Chicago and St. Louis.<\/div>\n
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When Marianne Faithfull released\u00a0Broken English<\/i>\u00a0in 1979, she shattered all preconceptions, glass ceilings, walls and doorways. She claimed her identity and emerged as herself after years of playing the\u00a0roles of pop princess, rock-royal consort, fallen angel,\u00a0and tattered waif, roles\u00a0for which she never auditioned nor truly wanted. Through the power of this album she became what she had always been: passionate, tender, knowing,\u00a0uncensored and unashamed. The album, in\u00a0its unabashed desire and rage\u00a0and profound excavation of the human spirit, still resonates today. It\u2019s not a relic. It\u2019s a reality.<\/div>\n
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Tammy Faye Starlite does her utmost to keep the fire aflame and honor the integrity – no, the intensity – of Marianne Faithfull\u2019s groundbreaking album while trying to heed a Marianne dictum: \u201cWe fucked up, now we\u2019re free!\u201d\u00a0In view of this assertion, it\u2019s easy to see why\u00a0The New York Times<\/i>\u2019 Stephen Holden proclaimed Tammy Faye\u2019s Marianne Faithfull portrayal to be \u201ceasily the most revelatory show I\u2019ve seen..\u201d<\/div>\n

Marianne Faithfull has commented on the legacy of\u00a0Broken English<\/i>\u00a0in recent years, suggesting, \u201cIt was simply the world seen from my point of view. It wasn\u2019t a conscious statement on the world…\u00a0Broken English<\/i>\u00a0is very personal.. the songs, the covers that I did, simply happened to be songs I believed myself. \u201cWorking Class Hero,\u201d \u201cThe Ballad of Lucy Jordan,\u201d \u201cWhy D\u2019Ya Do It,\u201d were written by other people, but I could have written them myself.\u201d<\/p>\n

Broken English<\/i>, from the time of its initial release in 1979 through the present day has been seen as a benchmark work in terms of its raw honesty and the revelations it conveys.<\/p>\n

The Guardian<\/i>\u00a0on the re-release of\u00a0Broken English\u00a0<\/i>six years ago:\u00a0\u201cIf the era called for shock tactics, then Faithfull was happy to be shocking. The concluding ‘Why D\u2019Ya Do It\u2019 is a\u00a0depiction of feminine hell-hath-no-fury rage contains a fuck, a cunt, two cocks, a dick, a balls, a pussy and a fanny (the latter ‘full of cobwebs’) as well as posing the immortal question ‘Why did you spit on my snatch?\u2019: an impressive tally in a pre-hip-hop world. More impressive still, it retains its capacity to shock: not because of the language, but because there’s something utterly believable about Faithfull’s tone of contempt.\u00a0There was, understandably, a lot about heroin addiction, the curdling of the beatific turn-on-tune-in-drop-out ethos into a scrabbling, desperate world of ‘trying to get high without having to pay,’ as ‘Brain Drain’\u00a0puts it. There’s still something jarring about hearing the daughter of an Austrian aristocrat singing John Lennon’s ‘Working Class Hero,\u2019 but it fits in the context of an album about the shortcomings of the decade that made Faithfull famous. The increased social mobility the ’60s were supposed to have wrought was, it suggests, a myth, and so too was the sexual revolution. The female characters on\u00a0Broken English<\/i>\u00a0are suicidal housewives\u00a0and betrayed lovers, at the mercy of men; the most unshackled women are the smackheads.\u201d<\/p>\n

Greil Marcus reviewed the album for\u00a0Rolling Stone<\/i>\u00a0shortly after its original release:\u00a0\u201cThe lyrics of\u00a0Broken English<\/i>\u00a0are\u00a0not autobiographical, but the album\u2019s power begins with Marianne Faithfull\u2019s old persona and with one\u2019s knowledge of the collapse of the woman behind it. Faithfull sings as if she means to get every needle, every junkie panic, every empty pill bottle and every filthy room into her voice\u2014as if she spent the last ten years of oblivion trying to kill the face that first brought her to our attention.\u00a0The voice is a croak, a scratch, all breaks and yelps and constrictions. Though her voice seems perverse, it soon becomes clear that it is also the voice of a woman who is comfortable with what she sounds like.:\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Michael Hepworth<\/p>\n

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    Michael Hepworth www.perfectmealtoday.com, www.spiritsman.com, www.perfectskintoday.com, www.perfecttraveltoday.com, www.perfectmealtoday.com, www.perfectmusictoday.com, www.perfectgolftoday.com   ONE NIGHT ONLY!\u00a0 TAMMY FAYE STARLITE BRINGS\u00a0WHY\u2019D YA DO IT?\u00a0MARIANNE FAITHFULL\u2019S\u00a0BROKEN ENGLISH\u00a0 TO JOE\u2019S PUB MONDAY MARCH 16 New York (Perfect Music Today… <\/p>\n

Continue Reading TAMMY FAYE STARLITE BRINGS WHY\u2019D YA DO IT? MARIANNE FAITHFULL\u2019S BROKEN ENGLISH TO JOE\u2019S PUB MONDAY MARCH 16<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[1126,1128,1127],"_links":{"self":[{"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/posts\/1963"}],"collection":[{"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/comments?post=1963"}],"version-history":[{"count":2,"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/posts\/1963\/revisions"}],"predecessor-version":[{"id":2000,"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/posts\/1963\/revisions\/2000"}],"wp:attachment":[{"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/media?parent=1963"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/categories?post=1963"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/perfectmusictoday.com\/index.php\/wp-json\/wp\/v2\/tags?post=1963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}