meg white sex tape - Page 2

Damn, you edited too fast.

Just to reiterate, it's about stylistic choices made by the two, not virtuosity.

Yeah, I only half read what he said the first time and took the coward's way out, mostly cuz I was stoopit.

What's charming about White as a drummer is that the Naivety gives her drumming a purity, because she's not tied down to convention or constrictive ideas like rhythmic management she can just do her own thing, it's part of what makes The White Stripes such a fascinating group.

I've always thought it would be cool to hand someone who's never played an instrument a cranked electric guitar and tell them to just make noise with it, and see what they come up with, without trying to play some chords they can't fret properly, or some song they don't know, just go off and make sounds with it in total freedom. It could be unlistenable, or they could be some noise-rock savant. Your post reminded me of that.

Edit to stay on topic: I like Meg's boobies.

To a certain extent, I think this is what Hendrix did.

That's the thing about Meg White, she is like some sort of savant because she seems to have been completely innoculated from Rock Music. It's like she never grew up with the stuff, so there's nothing for her to adhere to. There's no subconscious need to copy and replicate others, god knows how she managed it though.

Hendrix was an experienced guitarist with years of playing backup in R&B bands before he branched out into his solo stuff. But the case could certainly be made that he used drugs to regain that wide-eyed musical innocence.

The Godz

Hmm. I've never heard of them but The Shaggs also come to mind.

People who think Meg White's drumming hurts the White Stripes probably think that better special effects helped the special editions of Star Wars. Fuck them.

A very small and twisted group of people I like to call heterosexual males.

That's the cult that covets breasts and vaginas right as long as they're not attached to great big fatties or total ugs, right?

i wasnt saying she was a fatty. Was just stating the guidelines of the cult.

Pastiness aside (which ain't so bad, MissZooey,) the girl in the vid is way more flabby than Meg White. All that bad drumming keeps Meg in tip-top rock 'n' roll shape.

Seems like a pretty good look-a-like to me. But even if it was Meg, I say right on sister. Sex is fun!

It's not her. The story is that the guy who originally found it posted it on a message board saying "This girl kinda of looks like Meg White" and then someone else ran off with it claiming it was Meg White.

It's a shame. I thought she finally found some fuel to make her fire bright.

I think White is sort of an interesting middle-ground between absolute naivete like the Shaggs and the Godz and technical expertise.

I don't think there's anything deliberate about the Shaggs' lack of ability - it's as if their understanding of how songs work (or even what consitutes a song, really) is just completely removed from that of anyone with even basic musical training. Trained musicians tend to focus on what we perceive as fundamentals: chords are played on guitar, rhythms are played on drums, vocal lines have set melodies in line with Western scales. The Shaggs seemed to have different goals in songwriting - the guitar might play a repetitive melody, the drums don't provide the beat as much as what might be perceived as "a hook," the vocals are just a bunch of words, chanted as a child might in a grade school music class. I find it fairly unpleasant to listen to, but I like that it shows the extreme naivete that informs bands like the Slits, who managed to use some of that naivete in composing, but still managed to play it with some expertise. (Incidentally, I'm not sure why these sorts of unusual, "naive" forms of rock tend to be the work of women - it's further interesting to note that the drummer on the Slits' Cut is a guy, and those parts are the most traditionally technically proficient, for better or worse.)

I don't think White is in the same class. She knows what a drum beat's supposed to do in a rock context. She's probably listened to a lot more rock'n'roll than the Shaggs ever did. Her initial (I say initial, because I think her style is now an entirely deliberate evocation of her initial, "naive" style)lack of expertise wasn't in perceiving how rock music worked, like the Slits; it was in putting that knowledge into practice. When someone who knows a little about rock music sits down at a drum kit, the bass hits are usually on one and three as they should be, and the snare hits are on two and three - the difference is that everything's excessively thumpy and stilted. This is what Meg sounds like.

She's a thumpy rock drummer, and this works absolutely perfectly for how Jack plays. Her style removes the need for a bassist, because it provides a bottom end, and it's sloppy enough that Jack can play leads without having to worry about filling space. At the same time, it's spare enough that it doesn't sound chaotic as it would with a similarly imprecise drummer who had greater aspirations to be noticed (a Keith Moon type, for instance).

We've had this conversation before (repeatedly), but, for the benefit of the other Chewers, I'm going to put my theory out there -

When women are little girls, it is almost never suggested to us that we, too, could be rock musicians. It doesn't really occur to us that we could be rock musicians. We have only a tiny handful of role models and tend not to be encouraged to pursue rock instruments. Little boys are pushed toward percussion in band and taught to play the upright bass in orchestra, skills that transfer easily to a rock context. So when women hit their 20s, realize that they don't want to be with the band, they want to be in the band, they are completely technically unprepared to make that step. Thus, you get Meg White and you get the Slits, women who just want to play so badly that they're willing to embrace their ignorance and learn how to play in front of everyone.

Laurie Lindeen writes about this problem in Petal Pusher (a book I devoured in about three days). She talks about the shameful ignorance that she had to overcome, feeling like she was always second-rate, having to ask the boys for help recording, tuning, playing, etc. She didn't spend years holed up in her bedroom, playing through a practice amp, like her male counterparts. She and her female bandmates try together to rush through those years of experimentation they didn't get. For a feminist and an extrovert who has always been confident and competent, priding herself on not requiring the assistance of men, this is a tough, tough pill for her to swallow, perhaps more difficult than accepting that she'll never be as good as those boys.

Yeah, which is exactly what I posted.

Oh shit, was that about sex? I always thought it was about remembering a weekend camping trip to the mountains.

I don't really like Meg White's playing all that much, but a few years ago, the bass player for Redd Kross overdubbed basslines on the entirety of White Blood Cells and it stressed how rudimentary Meg's drumming was, in addition to stressing how much space Jack's guitar fills. [edit] In other words, their playing might not subscribe to Berklee Music School standards, but for the most part it works.

The album was free online for a while, btw, so if any of you are craving a copy of some tunes, PM me.

True, but a crucial difference I spot between the Shaggs and White is that it's clear that White has listened to a lot of rock music (as had Lindeen before she played in Zuzu's Petals), so they're trying to sound like the boys, to some extent. The Shaggs (and the Slits, to a lesser degree) sound like they heard rock music only once or twice and wanted to try it, but didn't get why it sounds the way it does, so it comes out sounding like a small child's conception of how music works. It's like in kindergarten music class when the teacher hands out a bunch of instruments so that kids can just get a basic idea of how, say, a tambourine works.

It's kind of unintentional deconstruction and reconstruction of how rock music works. These bands are the ones that realize, consciously or unconsciously, that the only rules to making rock music are the ones that we choose to follow in any given instance. When guys do this sort of deconstruction (Slint, Shudder to Think, mid-period Sonic Youth), it ends up being a lot more studied and deliberate. Even Captain Beefheart, who affects a style that can sound messy and amateurish like the Shaggs, seems to have done so in a very rehearsed manner. It's as if guys (myself included) can't get past the idea that you have to learn how to play before you have the right to play like you don't know how to play. Women don't seem to have the same hangups, so, while a lot of amateur male artists stick to playing at the upper end of their level (the stripped-down, effective economy of the Ramones, for instance), amateur women artists sometimes have loftier goals beyond their expertise (the bizarre, rhythmically-shifting, near-art rock/reggae of the Slits).

I realize this a tangent of epic proportions, but it's much more interesting than speculating on whether the woman on the tape is or isn't Meg (it isn't), is or isn't more or less attractive than Meg (up for debate, but she's cute and seems to be having a good time), etc.

I couldn't agree more. Meg does seem skinnier than the girl in the video.




Sorry, I couldn't resist.

Yeah, I'm pretty sure it's about sex.

Dave, (and I know I'm derailing a lot more), Shudder to Think seems out of place in your description, I've always thought the drummer in that group to be very technical, especially since he had to deal with all the odd time signatures.

I think you're absolutely correct, but, again, they're all starting from the same spot, weather or not they've heard rock music - they have no clue how to play their instruments. So you get this very naive approach to rock either way, Meg and Laurie's striving toward something they love and understand and The Slits and The Shaggs toying with something they don't completely understand.

I know! Isn't it great?

That's because these guys have the option (and perhaps the sense of obligation) to contend with their skill. They've had years to build up their abilities (you've been playing percussion for what? 23 years?) and perhaps feel like they need to demonstrate that they can, they're just choosing not to. I wonder if it comes down to anxiety in part, too, this need to be the badass, to make good on all of those years you spent in the basement, playing along with John Bonham. Aspiring female rock musicians get over that anxiety because, if they don't, they don't get to play at all. *waves*


I don't know what to say to this, but it is very interesting, though, you're right.

I am, obviously, with him on this one.

And here I am thinking she's just rocking out in a flannel sleeping bag. Damn my Catholic upbringing! (By the way, either way, whether she's camping or fucking, she's probably going to hell. Repent!)

(Side note: I actually heard that song yesterday. Still one of my favorites of theirs. I love how unpolished Meg's vocals are. It makes the longing feel more real.)

Oh, Adam Wade's tremendously good (as is Kevin March, who replaced him - the guys before Wade were only okay). They're all good, as are the guys in Slint, the members of Sonic Youth, etc. But, at their Pony Express Record-era experimental peak, their music was a deconstruction of rock tropes. It makes you rethink what the role of each musician is and what constitutes a riff or a beat. In a certain way, I suppose it's even a little prog to have all of the crazy changes and time signatures, but the intent seems different than that of your typical math rock combo or trad prog band like Yes or King Crimson. Instead of decking out rock tunes with jazzbo-level intricacy or overblown solos, the intent seems to be to rebuild the songs with an intentionally naive sensibility, though one that could only be informed by some technical know-how ("why can't we forego chords and use a melodic guitar line here?" "why do the drums and guitar have to play in the same time signature all the time?" "why can't we just throw one big chorus on the end of the song?").

My point is that it's a deliberate deconstruction done by experienced musicians who had spent years listening to and playing more traditional rock music, and you can hear that technical expertise even when the songs have been torn apart and restructured in unfamiliar ways. The Shaggs and, to a lesser degree, the Slits come by their deconstruction naturally. In fact, it's barely even deconstruction, since that implies that there's a dismantling or unlearning happening - it's what you might call "pre-construction."

I see what you're saying. STT had always struck me as Prog or Math-rock, but now that I think about it, it does seem like they wanted you to think the complicated time signatures and strange chord/melodic interplay was "accidental", like they weren't aware that those things are out of the ordinary for most rock. Also, talking about STT now has "Rain Covered Cat" stuck in my head. Which is pretty cool.

Now, see, if John Taylor had just done a sex tape (making me ridiculously happy in the process), we could be having this conversation on the bass players thread.

Deliberate construction or no, the chick in the video kind-of looks like Meg White.

Now you see this, this is why you have to love CHUD -- a thread about a sex video turns into an in-depth analysis of Meg White's drumming technique and its place in music in general.

Exactly. It doesn't sound like they're aping any prog rock bands I've ever heard. It's like they created a self-contained, bizarro universe in which this alternate version of rock conventions just happens to exist.

For exactly one album.

Everything before or since Pony Express Record (including Nathan Larson's Mind Science of the Mind project, which probably sounds closest to Pony Express Record, actually) had a little of that flavor, but it was as if they were only applying parts of that aesthetic to more conventional songs. I hear the original follow-up they'd planned was even more bizarre, which is one of the things that drove Wade from the band. Instead, they went in a pop direction, which, at that point, was probably even more radical a move.

I could go on for a while about these guys. If I were to write a book for that 33 1/3 series on classic rock albums, Pony Express would be a really strong contender for me and not just because a lot of the biggies are already taken.

This is true.

Either way, we can all agree that she's pretty good looking (for a girl).

It's her and it's Jack behind the camera. I know his style.

You're really milking this "I think I might be gay, you guys!" schtick for all it's worth.

No, he's milking White Stripes song titles.

I'll put my money on a combination of the two.

But after watching it, he knew exactly what to do with himself.

Then why does it always end in tears?

He reportedly told friends he was "bound to pack her fudge today".

(Cue OldManWayne in 4, 3, 2...)

What? Not quite what you were expecting?



**Rutger'd**

For a moment I thought that this was a thread about the film Nick is making.

God love ya'll for that, too.

No way that's her, Betty White has more wrinkles on her tits.