March is Women’s History Month! In honor of lovely ladies, I’m posting solely female musicians this month.
Artist: Cake Bake Betty
Album: To the Dark Tower (2008)
Cake Bake Betty is Lindsay Powell, a multi-instrumental singer-songwriter from Millstone Township, New Jersey. Her other musical projects include Festival (with her sister Lex on Language of Stone Records) and SkyBlazer (with the boys of Jeff on Infinity Cat Recordings). CBB uses piano, violins, synthesizers, and everything in-between to craft original songs which are sometimes quirky, sometimes deeply emotional, but all with an undeniable endearing quality.
Powell is now performing as Fielded, plus as the vocalist of Ga'an and one half of Festival.
Unknown artist. White marble. Pergamon Museum. Berlin, Germany. Reconstructed west front of the Altar of Zeus. Featuring a 70 foot long staircase and peristyle colonnade in the Ionic order. The Altar’s formidable size does not take away from it’s extreme attention to detail. Following the trends of the Hellenistic period, dramatic expressions and extreme naturalism is seen in the high relief narrative frieze wrapping around the entire building. The frieze depicts the Gigantomachy to symbolically allude to the Greek Victory over the Gauls.
look out young son grand ole party || guillotine yadi || ipswich georgi kay || blood on my hands danielle parente || goat shepherd mirah || beggin for thread BANKS || mz. hyde (piano cover) cherrychu || pretty little head eliza rickman || shoot the water austra || heart killer gossling || up in flames sam tinnesz ft. maggie eckford || poison cocorosie || yellow flicker beat (cover) maddi jane || empire alpines || the snake shivaree || get away with murder (cover) the difference || gigantomachy cake bake betty || the moon asked the crow cocorosie || special death mirah || visitation of the ghost the brobecks || the devil within digital daggers || the rest for the wicked the sohodolls || black eyes radical face || host alex winston || tristan patrick wolf ||wow and flutter april smith and the great picture show ||(if) you want trouble nick waterhouse || just desserts marina & the diamonds ft. charli xcx
Hekate’s precise nature has been chewed over and contorted since antiquity, when mortals first looked up at the new moon and felt a shiver lick down their spines as dogs howled at the dark. She is, for all intents and purposes, a liminal thing; intrinsically ambivalent, occupying the fringes of Greek polytheism more than it’s nexus. Like so many of the antique deities, Hekate is more celestial matter than organic; cosmic darkness and divine magic given skin by a goddess of nocturnal oracles and falling stars and her dog-star god of destruction husband. In the end her father was sealed in the depths of Tartarus like all the rest and her mother became an island that Zeus’ lust sent tumbling into the sea. Only Hekate then, favored by the new Lord of Olympus; she who slew Clytius during the Gigantomachy. Hekate, who led Demeter through the night to find her abducted daughter Persephone and later ministered to the young queen in how to love the dark. This was second nature, it’s what she did; arcane patroness of the moonless night whose shrine was placed before doorways and crossroads to protect against malignant spirits. Divorced from her own parents as she was, Hekate wouldn’t understand what family meant until the first time she wrapped her white arms around a mortal girl and exhaled power into her like wine from carafe to cup. The first sorceress, the first of many women who would enter her service and work her magic; her great and terrible daughters.
Her nature has always been mutable, fluid and consequently continued to transcend the geographic boundaries of her origin, even after the proclamation in Rome of the Christian Faith began a tradition of shallow graves and high pyres for her worshipers. The new world rolled in and the Grecian pantheon faded into disuse, but humanity has never fully relinquished their fascination with the occult and Hekate would feel a delicious little surge of power every time her name was sang by pagan women dancing in secret across the terrified grass or when The Bard trotted her likeness out onto the Round to misguide the ambitious Macbeth. The explosion of New Age spiritualism in the 1970s brought her roaring back into popular consciousness after decades of the modern era’s devotion to rhyme and reason had dulled superstition. She moved across the globe, lingering in places for years and setting up shops and spawning covens as she went; pagan rituals in Lancashire’s lush countryside, New Orleans and it’s french quarter all pregnant with foreign arcanum, New York with it’s trendy vegan wiccans. Its a wide new world of crossroads and phantoms and neon sign psychics around every bend. ■
The battle of the Gods and the Giants (the east frieze of Great Altar of Zeus at Pergamon; the battle of Zeus and Porphyrion), the first half of the 2nd century B.C. Germany, Berlin, Museum Island, Pergamon Museum
A scene from the Gigantomachy: Ares and another figure (usually identified as Phobos, less often as Hermes) ride into battle in a chariot, trampling a Giant beneath them; Athena fights alongside. Side A of an Attic black-figure amphora, in the manner of the Lysippides Painter; variously dated to ca. 530 or ca. 510 BCE. Found at Vulci; now in the Staatliche Antikensammlungen, Munich.