ANI DIFRANCO Live in Singapore - 10 Feb 09
- Thread starter soulalt
- Start date
indianstallion
New member
Wow this is cool, I will definitely go catch her, I love her Dilate album.
Ani DiFranco tickets on sale...
The tickets go on sale on 19 Dec 2008 for advance bookings..those who are fans of Greenhorn Productions facebook page would have received the password. Public sales start on 20 Dec 2008.
You can email Greenhorn Productions at gigs@greenhornproductions.com if you have any enquiries.
The tickets go on sale on 19 Dec 2008 for advance bookings..those who are fans of Greenhorn Productions facebook page would have received the password. Public sales start on 20 Dec 2008.
You can email Greenhorn Productions at gigs@greenhornproductions.com if you have any enquiries.
cool
so the public ticket go on sales next saturday
aight
but again
i don see the point of locking up this piece of news
inside an exclusive facebook webpage
why dont Greenhorn production mirror this kind
of public non exclusive infomation
on a simple webpage for anyone to view
i don think ani difranco would approve
of this kind of discrimination
hootie
so the public ticket go on sales next saturday
aight
but again
i don see the point of locking up this piece of news
inside an exclusive facebook webpage
why dont Greenhorn production mirror this kind
of public non exclusive infomation
on a simple webpage for anyone to view
i don think ani difranco would approve
of this kind of discrimination
hootie
Ani DiFranco
No problem Hootie. I don't think the issue of discrimination arises at all...anyone can be a facebook member so it is a general website that treats everyone equally. Even Ani has her own official facebook page so perhaps u wanna join (which is free) to check her page out..After all, one has to register to post on SOFT as well.
Further, the information regarding the Singapore show has actually also been released to the general media and My Paper had the details in the press on Monday. It will probably also be out on SISTIC which is a general website too. Its also on lastfm.com. facebook is just one channel of making information known...
Relax and enjoy the show..
No problem Hootie. I don't think the issue of discrimination arises at all...anyone can be a facebook member so it is a general website that treats everyone equally. Even Ani has her own official facebook page so perhaps u wanna join (which is free) to check her page out..After all, one has to register to post on SOFT as well.
Further, the information regarding the Singapore show has actually also been released to the general media and My Paper had the details in the press on Monday. It will probably also be out on SISTIC which is a general website too. Its also on lastfm.com. facebook is just one channel of making information known...
Relax and enjoy the show..
Ani
Details..
Greenhorn Productions presents ANI DIFRANCO live for the very first time in Singapore on 10 Feb 2009.
Ani DiFranco has written hundreds of songs, played thousands of shows, captured the imaginations of legions of followers, and jammed with folkies, orchestras, rappers, rock and roll hall-of-famers, jazz musicians, poets, pop superstars, storytellers and a martial arts legend.
Since Ani bucked the major label system in the early-‘90s, opting to release her music on her own terms, the self-described Little Folksinger has been the subject of all kinds of hyperbole. She’s been called “fiercely independent” (Rolling Stone), “inspirational” (All Music Guide), “the ultimate do-it-yourself songwriter” (The New York Times), and "one of the greatest acoustic guitarists alive, one of the most important folk artists since Bob Dylan, and one of the best live acts since the Grateful Dead"(Popmatters.com)
Do not miss this chance to catch ANI DIFRANCO with her band (Todd Sickafoose on bass, Allison Miller on drums & Michael Dillon on percussion) in the exquisite confines of the Esplanade Theatre on 10 Feb 2009!!
Ticket prices range from $68-$148 (excluding SISTIC booking fees). Priority booking for Greenhorn Productions Facebook Fans is on 19 Dec 2008. Public sales starts on 20 Dec 2008. Tickets are available from www.sistic.com.sg or call (65) 63485555 for phone bookings. Please note that only persons aged 16 and above will be admitted to the show.
Fans of Greenhorn Productions facebook page will be eligible for one day advance priority booking and a 10% discount off ticket prices. Spread the good word by inviting your friends to this event using the "invite friends link" on this page! Many thanks for your support.
Details..
Greenhorn Productions presents ANI DIFRANCO live for the very first time in Singapore on 10 Feb 2009.
Ani DiFranco has written hundreds of songs, played thousands of shows, captured the imaginations of legions of followers, and jammed with folkies, orchestras, rappers, rock and roll hall-of-famers, jazz musicians, poets, pop superstars, storytellers and a martial arts legend.
Since Ani bucked the major label system in the early-‘90s, opting to release her music on her own terms, the self-described Little Folksinger has been the subject of all kinds of hyperbole. She’s been called “fiercely independent” (Rolling Stone), “inspirational” (All Music Guide), “the ultimate do-it-yourself songwriter” (The New York Times), and "one of the greatest acoustic guitarists alive, one of the most important folk artists since Bob Dylan, and one of the best live acts since the Grateful Dead"(Popmatters.com)
Do not miss this chance to catch ANI DIFRANCO with her band (Todd Sickafoose on bass, Allison Miller on drums & Michael Dillon on percussion) in the exquisite confines of the Esplanade Theatre on 10 Feb 2009!!
Ticket prices range from $68-$148 (excluding SISTIC booking fees). Priority booking for Greenhorn Productions Facebook Fans is on 19 Dec 2008. Public sales starts on 20 Dec 2008. Tickets are available from www.sistic.com.sg or call (65) 63485555 for phone bookings. Please note that only persons aged 16 and above will be admitted to the show.
Fans of Greenhorn Productions facebook page will be eligible for one day advance priority booking and a 10% discount off ticket prices. Spread the good word by inviting your friends to this event using the "invite friends link" on this page! Many thanks for your support.
yeah yeah. its tonight.
here's something she wrote more than a decade ago.
still valid today, and (coming right after the grammy awards) even more so.
taken from righteous babe
http://www.righteousbabe.com/
>>>>From the Ron E.,
the Righteous Babe Records Minister of Communications:
The li’l folksinger has asked me to distribute the text of this open letter to the editor of MS, in response to a short paragraph in their Sept./Oct. 97 issue. It’s a tad long for e-mail, but Ani wanted folks to be able to read the entirety of her message instead of an edited version. We would really like to see this posted on websites wherever possible.
**You may distribute or forward the following as long as you do not alter or edit it.**
November 5, 1997
Marcia Ann Gillespie
Editor in Chief
Ms. Magazine
135 W. 50th Street
16th Floor
New York, NY 10020
So I’m poring through the 25th anniversary issue of Ms. (on some airplane going somewhere in the amorphous blur that amounts to my life) and I’m finding it endlessly enlightening and stimulating as always, when, whaddaya know, I come across a little picture of little me. I was flattered to be included in that issue’s "21 feminists for the 21st century" thingybob. I think ya’ll are runnin the most bold and babe-olishious magazine around, after all.
Problem is, I couldn’t help but be a little weirded out by the paragraph next to my head that summed up her me-ness and my relationship to the feminist continuum. What got me was that it largely detailed my financial successes and sales statistics. My achievements were represented by the fact that I "make more money per album sold than Hootie and the Blowfish," and that my catalogue sales exceed 3/4 of a million. It was specified that I don’t just have my own record company but my own "profitable" record company.
Still, the ironic conclusion of the aforementioned blurb is a quote from me insisting "it’s not about the money." Why then, I ask myself, must "the money" be the focus of so much of the media that surrounds me? Why can’t I escape it, even in the hallowed pages of Ms.?
Firstly, this "Hootie and the Blowfish" business was not my doing. The LA Times financial section wrote an article about my record label, Righteous Babe Records, in which they raved about the business savvy of a singer (me) who thwarted the corporate overhead by choosing to remain independent, thereby pocketing $4.25 per unit, as opposed to the $1.25 made by Hootie or the $2.00 made by Michael Jackson. This story was then picked up and reprinted by The New York Times, Forbes magazine, the Financial News Network, and (lo and behold) Ms.
So here I am, publicly morphing into some kinda Fortune 500-young-entrepreneur-from-hell, and all along I thought I was just a folksinger!
Ok, it’s true. I do make a much larger profit (percentage-wise) than the Hootster. What’s even more astounding is that there are thousands of musicians out there who make an even higher profit percentage than me! How many local, musicians are there in your community who play gigs in bars and coffee shops about town? I bet lots of them have made cassettes or CDS which they’ll happily sell to you with a personal smile from the edge of the stage or back at the bar after their set. Would you believe these shrewd, profit-minded wheeler-dealers are pocketing a whopping _100%_ of the profits on the sales of those puppies?! Wait till the Financial News Network gets a whiff of _them_!
I sell approximately 2.5% of the albums that a Joan Jewelanis Morrisette sells and get about .05% of the airplay royalties, so obviously if it all comes down to dollars and cents, I’ve led a wholly unremarkable life. Yet I choose relative statistical mediocrity over fame and fortune because I have a bigger purpose in mind. Imagine how strange it must be for a girl who has spent 10 years fighting as hard as she could against the lure of the corporate carrot and the almighty forces of capital, only to be eventually recognized by the power structure as a business pioneer.
I have indeed sold enough records to open a small office on the half-abandoned main street in the dilapidated urban center of my hometown, Buffalo, N.Y. I am able to hire 15 or so folks to run and constantly reinvent the place while I drive around and play music for people. I am able to give stimulating business to local printers and manufacturers and to employ the services of independent distributors, promoters, booking agents and publicists. I was able to quit my day job and devote myself to what I love.
And yes, we are enjoying modest profits these days, affording us the opportunity to reinvest in innumerable political and artistic endeavors. RBR is no Warner Bros. But it is a going concern, and for me, it is a vehicle for redefining the relationship between art and commerce in my own life. It is a record company which is the product not just of my own imagination, but that of my friend and manager Scot Fisher and of all the people who work there. People who incorporate and coordinate politics, art and media every day into a people-friendly, sub-corporate, woman-informed, queer-happy small business that puts music before rock stardom and ideology before profit.
And me. I’m just a folksinger, not an entrepreneur. My hope is that my music and poetry will be enjoyable and/or meaningful to someone, somewhere, not that I maximize my profit margins. It was 15 years and 11 albums getting to this place of notoriety and, if anything, I think I was happier way back when. Not that I regret any of my decisions, mind you. I’m glad I didn’t sign on to the corporate army. I mourn the commodification and homogenization of music by the music industry, and I fear the manufacture of consent by the corporately-controlled media. Last thing I want to do is feed the machine.
I was recently mortified while waiting in the dressing room before one of my own shows. Some putz suddenly takes the stage to announce me and exclaim excitedly that this was my "largest sold-out crowd to date!" "Oh, really?," I’m thinking to myself, "that’s interesting...too bad it’s not the point." All of my achievements are artistic, as are all of my failures.
That’s just the way I see it. Statistical plateau or no. I’ll bust ass for 60 people, or 6,000, watch me.
I have so much respect for Ms. magazine. If I couldn’t pick it up at newsstands my brain probably would’ve atrophied by now on some trans-Atlantic flight and I would be lying limp and twitchy in a bed of constant travel, staring blankly into the abyss of the gossip magazines. Ms. is a structure of media wherein women are able to define themselves, and articulate for themselves those definitions. We wouldn’t point to 21 of the feminists moving into the 21st century and define them in terms of "Here’s Becky Ballbuster from Iowa City, she’s got a great ass and a cute little button nose..." No ma’am. We’ve gone beyond the limited perceptions of sexism and so we should move beyond the language and perspective of the corporate patriarchy. The Financial News Network may be ultimately impressed with me now that I’ve proven to them that there’s a life beyond the auspices of papa Sony, but do I really have to prove this to _you_?
We have the ability and the opportunity to recognize women not just for the financial successes of their work but for the work itself. We have the facility to judge each other by entirely different criteria than those is imposed upon us by the superstructure of society. We have a view which reaches beyond profit margins into poetry, and a vocabulary to articulate the difference.
Thanks for including me, Ms., really. But just promise me one thing; if I drop dead tomorrow, tell me my grave stone won’t read:
ani d.
CEO.
Please let it read:
songwriter
musicmaker
storyteller
freak.
-Ani DiFranco
here's something she wrote more than a decade ago.
still valid today, and (coming right after the grammy awards) even more so.
taken from righteous babe
http://www.righteousbabe.com/
>>>>From the Ron E.,
the Righteous Babe Records Minister of Communications:
The li’l folksinger has asked me to distribute the text of this open letter to the editor of MS, in response to a short paragraph in their Sept./Oct. 97 issue. It’s a tad long for e-mail, but Ani wanted folks to be able to read the entirety of her message instead of an edited version. We would really like to see this posted on websites wherever possible.
**You may distribute or forward the following as long as you do not alter or edit it.**
November 5, 1997
Marcia Ann Gillespie
Editor in Chief
Ms. Magazine
135 W. 50th Street
16th Floor
New York, NY 10020
So I’m poring through the 25th anniversary issue of Ms. (on some airplane going somewhere in the amorphous blur that amounts to my life) and I’m finding it endlessly enlightening and stimulating as always, when, whaddaya know, I come across a little picture of little me. I was flattered to be included in that issue’s "21 feminists for the 21st century" thingybob. I think ya’ll are runnin the most bold and babe-olishious magazine around, after all.
Problem is, I couldn’t help but be a little weirded out by the paragraph next to my head that summed up her me-ness and my relationship to the feminist continuum. What got me was that it largely detailed my financial successes and sales statistics. My achievements were represented by the fact that I "make more money per album sold than Hootie and the Blowfish," and that my catalogue sales exceed 3/4 of a million. It was specified that I don’t just have my own record company but my own "profitable" record company.
Still, the ironic conclusion of the aforementioned blurb is a quote from me insisting "it’s not about the money." Why then, I ask myself, must "the money" be the focus of so much of the media that surrounds me? Why can’t I escape it, even in the hallowed pages of Ms.?
Firstly, this "Hootie and the Blowfish" business was not my doing. The LA Times financial section wrote an article about my record label, Righteous Babe Records, in which they raved about the business savvy of a singer (me) who thwarted the corporate overhead by choosing to remain independent, thereby pocketing $4.25 per unit, as opposed to the $1.25 made by Hootie or the $2.00 made by Michael Jackson. This story was then picked up and reprinted by The New York Times, Forbes magazine, the Financial News Network, and (lo and behold) Ms.
So here I am, publicly morphing into some kinda Fortune 500-young-entrepreneur-from-hell, and all along I thought I was just a folksinger!
Ok, it’s true. I do make a much larger profit (percentage-wise) than the Hootster. What’s even more astounding is that there are thousands of musicians out there who make an even higher profit percentage than me! How many local, musicians are there in your community who play gigs in bars and coffee shops about town? I bet lots of them have made cassettes or CDS which they’ll happily sell to you with a personal smile from the edge of the stage or back at the bar after their set. Would you believe these shrewd, profit-minded wheeler-dealers are pocketing a whopping _100%_ of the profits on the sales of those puppies?! Wait till the Financial News Network gets a whiff of _them_!
I sell approximately 2.5% of the albums that a Joan Jewelanis Morrisette sells and get about .05% of the airplay royalties, so obviously if it all comes down to dollars and cents, I’ve led a wholly unremarkable life. Yet I choose relative statistical mediocrity over fame and fortune because I have a bigger purpose in mind. Imagine how strange it must be for a girl who has spent 10 years fighting as hard as she could against the lure of the corporate carrot and the almighty forces of capital, only to be eventually recognized by the power structure as a business pioneer.
I have indeed sold enough records to open a small office on the half-abandoned main street in the dilapidated urban center of my hometown, Buffalo, N.Y. I am able to hire 15 or so folks to run and constantly reinvent the place while I drive around and play music for people. I am able to give stimulating business to local printers and manufacturers and to employ the services of independent distributors, promoters, booking agents and publicists. I was able to quit my day job and devote myself to what I love.
And yes, we are enjoying modest profits these days, affording us the opportunity to reinvest in innumerable political and artistic endeavors. RBR is no Warner Bros. But it is a going concern, and for me, it is a vehicle for redefining the relationship between art and commerce in my own life. It is a record company which is the product not just of my own imagination, but that of my friend and manager Scot Fisher and of all the people who work there. People who incorporate and coordinate politics, art and media every day into a people-friendly, sub-corporate, woman-informed, queer-happy small business that puts music before rock stardom and ideology before profit.
And me. I’m just a folksinger, not an entrepreneur. My hope is that my music and poetry will be enjoyable and/or meaningful to someone, somewhere, not that I maximize my profit margins. It was 15 years and 11 albums getting to this place of notoriety and, if anything, I think I was happier way back when. Not that I regret any of my decisions, mind you. I’m glad I didn’t sign on to the corporate army. I mourn the commodification and homogenization of music by the music industry, and I fear the manufacture of consent by the corporately-controlled media. Last thing I want to do is feed the machine.
I was recently mortified while waiting in the dressing room before one of my own shows. Some putz suddenly takes the stage to announce me and exclaim excitedly that this was my "largest sold-out crowd to date!" "Oh, really?," I’m thinking to myself, "that’s interesting...too bad it’s not the point." All of my achievements are artistic, as are all of my failures.
That’s just the way I see it. Statistical plateau or no. I’ll bust ass for 60 people, or 6,000, watch me.
I have so much respect for Ms. magazine. If I couldn’t pick it up at newsstands my brain probably would’ve atrophied by now on some trans-Atlantic flight and I would be lying limp and twitchy in a bed of constant travel, staring blankly into the abyss of the gossip magazines. Ms. is a structure of media wherein women are able to define themselves, and articulate for themselves those definitions. We wouldn’t point to 21 of the feminists moving into the 21st century and define them in terms of "Here’s Becky Ballbuster from Iowa City, she’s got a great ass and a cute little button nose..." No ma’am. We’ve gone beyond the limited perceptions of sexism and so we should move beyond the language and perspective of the corporate patriarchy. The Financial News Network may be ultimately impressed with me now that I’ve proven to them that there’s a life beyond the auspices of papa Sony, but do I really have to prove this to _you_?
We have the ability and the opportunity to recognize women not just for the financial successes of their work but for the work itself. We have the facility to judge each other by entirely different criteria than those is imposed upon us by the superstructure of society. We have a view which reaches beyond profit margins into poetry, and a vocabulary to articulate the difference.
Thanks for including me, Ms., really. But just promise me one thing; if I drop dead tomorrow, tell me my grave stone won’t read:
ani d.
CEO.
Please let it read:
songwriter
musicmaker
storyteller
freak.
-Ani DiFranco
yeah she thinks we can't speak english cos we were so. damn. unresponsive.
i felt so embarrassed!!! the crowd was seriously quite pathetic.
and stupid esplanade and their no recording/photography policy.
like WTH i paid hundred over bucks to see this woman all the way from america and you tell me i can't even take a picture of her.
and no untouchable face!!! like omg! is saying the f-word on stage seriously illegal??
and no autograph session!!!!!! AHHHH okay so many rants, sorry.
but the music was awesome. they're so damn freaking talented.
i felt so embarrassed!!! the crowd was seriously quite pathetic.
and stupid esplanade and their no recording/photography policy.
like WTH i paid hundred over bucks to see this woman all the way from america and you tell me i can't even take a picture of her.
and no untouchable face!!! like omg! is saying the f-word on stage seriously illegal??
and no autograph session!!!!!! AHHHH okay so many rants, sorry.
but the music was awesome. they're so damn freaking talented.
1) You have taken photos at Esplanade before right e.g Death Cab, Stars, Broken Social Scene? Reason no photos has therefore got nothing to do with venue. This is the artiste decision.
2) Crowd was completely brilliant in my view. They were listening whenever Ani sang and responded in between songs as a crowd should. I have it on good authority that Ani was very impressed by the crowd response and the respect they showed for her music.
3) When I shouted for "Fuel", she sang it so a happy camper am I. The response she got at the end was amazing..a class response from a class audience for a class performer (Visit www.onherown.net and read accounts of how Ani is reputed to get irritated when fans singalong too much or shout incessantly/take photos during a show. Ani is very much an all about the music person. She also is never known to do post show signings.
3) Ani does not always sing Untouchable Face. But we got Albacore (the beautiful wedding song) and Sunday Afternoon (another gem)
3) Singapore got 20 songs whereas all Australian shows only got 19.
One of the best liver performers Singapore will ever see.
2) Crowd was completely brilliant in my view. They were listening whenever Ani sang and responded in between songs as a crowd should. I have it on good authority that Ani was very impressed by the crowd response and the respect they showed for her music.
3) When I shouted for "Fuel", she sang it so a happy camper am I. The response she got at the end was amazing..a class response from a class audience for a class performer (Visit www.onherown.net and read accounts of how Ani is reputed to get irritated when fans singalong too much or shout incessantly/take photos during a show. Ani is very much an all about the music person. She also is never known to do post show signings.
3) Ani does not always sing Untouchable Face. But we got Albacore (the beautiful wedding song) and Sunday Afternoon (another gem)
3) Singapore got 20 songs whereas all Australian shows only got 19.
One of the best liver performers Singapore will ever see.
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