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But she's come by this in a way that's not on his terms, so she's a villain.What's the real-world upshot of Jack White's need for control?In a scene from the 2007 documentary What happens when White's women aren't timid—when they themselves try to exert some control?Then, he makes it clear that he can't please them, nor does he care to.And with Jack White, Dean Fertita, and Jack Lawrence in The Dead Weather.If any "guest" on our show should ever get a producer credit, it's Alison.She single-handedly wrangled, coerced, cajoled and organized appearances by both The Kills and The Dead Weather on our show -- a logistical feat on par with the invasion of Normandy.She opened her Nashville home, "Disgraceland," to us, our crew and an army of invited guests.
She's been touring and recording and touring again almost non-stop since she was 16 years old. everybody, but most times these days as half of the band The Kills with Jamie Hince.
Chefs and restaurateurs in particular are finding the city attractive -- there's a gold rush of talented operators setting up shop, eager to take advantage of relatively reasonable rents, a good economic climate and a welcoming public.
So far, born and bred Nashvillians have greeted the torrent of carpetbaggers from the North with open arms .
Kicking back in the mood-lit, mod-plush lobby of the Bowery Hotel in New York City’s East Village, Jamie Hince is still riding a wave of adrenaline from last night’s sold-out show across the river in Brooklyn. “Everyone came back up to the dressing room after the show, and it was my perfect little environment—all my friends there, and I’m just DJ’ing, and everyone was dancing.
The whole room was packed and dancing to reggae, and it was so lovely. ” Alison Mosshart, sprawled a bit sleepily in the highback chair across from Hince, perks up at the mention of the genre-busting poet and singer, once dubbed “the angriest punk of the ’70s” by the local paper of record. “I met her on the stairs backstage and she was so …Dan Auerbach of the Black Keys will call women "psychotic" and lament exes, but it rarely gets personal the way it does with White. In fact, with his nasty barbs and self-pitying complaints, White's lyrics almost have more resemblance to early-2000s emo bands like Fall Out Boy and Panic! But Blunderbuss, more than anything that's come before it, crystalizes White's longstanding issues with women.Maybe that's because it's his first-ever solo record, and maybe that's because it comes on the heels of his second divorce, from model Karen Elson."Two black gadgets in her hand are all she thinks about," White spits about a female antagonist on "Freedom at 21," before getting Pat-Robertson-preachy: "No responsibility, no guilt or morals cloud her judgment." There are other strange transgressions by women against men on Blunderbuss.